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Vertumnus and Pomona
Oil on panel. 1636 - 1637
Rubens, Peter Paul
Vertumnus and Pomona
Oil on panel. 1636 - 1637
Rubens, Peter Paul

According to Ovid´s Metamorphosis, Vertumnus had to disguise himself as a woman in order to gain Pomona´s love. Rubens chose to depict the moment when, having removed his disguise, Vertumnus declares his love to the attractive young woman. She holds a sickle in her right hand, which alludes to her condition as a deity related to the fruits of nature. That is also why the scene is set in a garden.

Atalanta and Meleager hunting the Calydonian Boar
Oil on canvas. 1635 - 1640
Rubens, Peter Paul
Atalanta and Meleager hunting the Calydonian Boar
Oil on canvas. 1635 - 1640
Rubens, Peter Paul

As Ovid tells in his Metamorphosis (book VIII, 260-444), the goddess Diana sent a giant wild boar to ravage the kingdom of Calydon. The king´s son, Meleager, and his beloved Atalanta organize a hunt with the help of their cousins, Castor and Pollux. Rubens depicts this passage, distributing the figures in the foreground near the bottom of the composition in order to direct the viewer´s gaze toward

The Supper at Emmaus
Oil on canvas. Ca. 1638
Rubens, Peter Paul
The Supper at Emmaus
Oil on canvas. Ca. 1638
Rubens, Peter Paul

Two pilgrims on their way to Jerusalem meet a traveler, whom the invite to dinner. When their unknown guest blesses the bread on the table, they recognize that he is Christ resurrected. This story is taken from the Gospel of Luke (24, 13-55). The painter sets the scene in a space that is open to an architectural landscape, with a fortress and a Baroque building out of which a figure is leaning. Th

Diana and her Nymphs hunting
Oil on oak panel. 1636 - 1637
Rubens, Peter Paul
Diana and her Nymphs hunting
Oil on oak panel. 1636 - 1637
Rubens, Peter Paul

Recognizable by the crescent-moon-shaped diadem on her head, Diana hunts deer with spears and dogs, accompanied by various nymphs. The extremely horizontal composition is one of the peculiarities of this work, which belongs to an important sect of sketches made by Rubens for the pictorial decoration of the Torre de la Parada. On these small panels, the painter defined the design, colors, forms and

The Three Graces
Oil on oak panel. 1630 - 1635
Rubens, Peter Paul
The Three Graces
Oil on oak panel. 1630 - 1635
Rubens, Peter Paul

The Graces were minor deities but in this splendid work Peter Paul Rubens devotes his best effort to them. The three goddesses embrace each other forming a circle. The positioning of their feet suggests movement; they seem to dance gently. The setting is as luscious as the nude bodies of the goddesses. A field illuminated by sunlight filtered through dense trees stretches to a distant blue. The sh

Landscape with Psyche and Jupiter
Oil on canvas. Ca. 1610
Rubens, Peter Paul; Bril, Paul
Landscape with Psyche and Jupiter
Oil on canvas. Ca. 1610
Rubens, Peter Paul; Bril, Paul

On a number of occasions, Peter Paul Rubens partially overpainted finished pictures. He did this to paintings by his own hand, such as Nymphs and Satyrs (P1666), which he retouched and enlarged twenty years after he first painted it. He also made changes to drawings and paintings by other artists that he owned. This painting is an example of such reworking, albeit in a radical mode that changed th

Ceres and Pan
Oil on canvas. Ca. 1620
Rubens, Peter Paul (Workshop Of); Snyders, Frans
Ceres and Pan
Oil on canvas. Ca. 1620
Rubens, Peter Paul (Workshop Of); Snyders, Frans

As goddess of the Earth and agriculture, Ceres is depicted wearing a bundle of wheat spikes on her head. Beside her, Pan, the god of shepherds and herds, has a crown of oak leaves. Ceres symbolizes cultivated nature and Pan, wild nature. The horn of plenty and basket of fruit in their laps alludes to the fecundity and fertility of the Earth, which is strengthened by the fruit and vegetables strewn

Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul
Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul

A group of figures dance to the tune of a flute played by a man perched on an oak tree, and to the bells that some dancers have attached to their lower legs. The scene evokes the dances that are part of Ancient Greek history and myths and the tradition that followed - the book Hypnerotomachia Poliphili includes a description and a woodcut of a similar dance. The painting also evokes the arcadian s

The Sense of Smell
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Smell
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the Elder”. Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed i

The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Rubens, Peter Paul (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Rubens, Peter Paul (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Rubens, Peter Paul (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Rubens, Peter Paul (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Asselineau, Leon-Augusto; Madrazo y Agudo, José de
Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Asselineau, Leon-Augusto; Madrazo y Agudo, José de

Es una litografía de Léon-Auguste Asselineau (1808-1889) que reproduce el lienzo pintado por Rubens, cuya firma aparece en la estampa, y por Jan Wildens (P01645). Rubens realizó las figuras y el paisaje fue pintado por Wildens. El título que aparece en la estampa es Acto religioso de Rodulfo, Conde de Hasburg. Esta estampa se entregaba con el cuadernillo CXXXIX acompañado de un texto explicativo d

The Vision of Saint Hubert
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Brueghel The Elder, Jan (Jan 'velvet' Brueghel) (Author Of The Original Work); Rubens, Peter Paul (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Vision of Saint Hubert
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Brueghel The Elder, Jan (Jan 'velvet' Brueghel) (Author Of The Original Work); Rubens, Peter Paul (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Andreas Pic de Leopold (1789?-después de 1860). Reproduce el lienzo, conservado en el Museo Nacional del Prado (P01411), de la conversión de san Huberto, cuya figura del santo fue pintada por Rubens; el resto de la composición es de la mano de Jan Brueghel “el Viejo”. El lienzo, en su momento, se creyó solo de Brueghel, tal y como se indica en la letra de la estampa. El título

The Vision of Saint Hubert
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Rubens, Peter Paul (Author Of The Original Work); Brueghel The Elder, Jan (Jan 'velvet' Brueghel) (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Vision of Saint Hubert
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Rubens, Peter Paul (Author Of The Original Work); Brueghel The Elder, Jan (Jan 'velvet' Brueghel) (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Andreas Pic de Leopold (1789?-después de 1860). Reproduce el lienzo, conservado en el Museo Nacional del Prado (P01411), de la conversión de san Huberto, cuya figura del santo fue pintada por Rubens; el resto de la composición es de la mano de Jan Brueghel el Viejo. El lienzo, en su momento, se creyó solo de Brueghel, tal y como se indica en la letra de la estampa. El título q

The Vision of Saint Hubert
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Rubens, Peter Paul (Author Of The Original Work); Brueghel The Elder, Jan (Jan 'velvet' Brueghel) (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Vision of Saint Hubert
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Rubens, Peter Paul (Author Of The Original Work); Brueghel The Elder, Jan (Jan 'velvet' Brueghel) (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Andreas Pic de Leopold (1789?-después de 1860). Produce el lienzo, conservado en el Museo Nacional del Prado (P01411), de la conversión de san Huberto, cuya figura del santo fue pintada por Rubens; el resto de la composición es de la mano de Jan Brueghel el Viejo. El lienzo, en su momento, se creyó solo de Brueghel, tal y como se indica en la letra de la estampa. El título que

The Vision of Saint Hubert
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Rubens, Peter Paul (Author Of The Original Work); Brueghel The Elder, Jan (Jan 'velvet' Brueghel) (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Vision of Saint Hubert
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Rubens, Peter Paul (Author Of The Original Work); Brueghel The Elder, Jan (Jan 'velvet' Brueghel) (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Andreas Pic de Leopold (1789?-después de 1860). Reproduce el lienzo, conservado en el Museo Nacional del Prado (P01411), de la conversión de san Huberto, cuya figura del santo fue pintada por Rubens; el resto de la composición es de la mano de Jan Brueghel el Viejo. El lienzo, en su momento, se creyó solo de Brueghel, tal y como se indica en la letra de la estampa.El título qu

Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Asselineau, Leon-Augusto; Madrazo y Agudo, José de
Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Asselineau, Leon-Augusto; Madrazo y Agudo, José de

Es una litografía de Léon-Auguste Asselineau (1808 –1889) que reproduce el lienzo pintado por Rubens, cuya firma aparece en la estampa, y por Jan Wildens (P01645). Rubens realizó las figuras y el paisaje fue pintado por Wildens. Esta estampa se entregaba con el cuadernillo CXXXIX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por

Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Asselineau, Leon-Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Asselineau, Leon-Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Léon-Auguste Asselineau (1808 –1889) que reproduce el lienzo pintado por Rubens, cuya firma aparece en la estampa, y por Jan Wildens (P01645). Rubens realizó las figuras y el paisaje fue pintado por Wildens. Esta estampa se entregaba con el cuadernillo CXXXIX acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por J

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