| Born | 1577 (Siegen) |
| Died | 1640 (Antwerpen) |
| Nationality | Belgium |
| Epochs | Baroque, Flämische Barockmalerei |
| Genre | Historienmalerei, religiöses Gemälde, Akt, Porträtmalerei, mythologische Malerei, Landschaftsmalerei, Porträt, Genreszene, religiöse Kunst, Tier in der Kunst |
| Profession | Diplomat, Maler, Grafiker, Druckgrafiker, Architekturzeichner, Bildhauer, bildender Künstler |
| Family | Father: Jan Rubens Mother: Maria Pypelinckx Spouse: Isabella Brant Child: Albert Rubens, Nicolaas Rubens, Peter Paul Rubens III, Claire Rubens, Clara Serena Rubens Sibling: Christine von Diez, Philip Rubens |
| Teacher | Tobias Verhaecht, Adam van Noort, Otto van Veen |
| Student | Anthonis van Dyck, Abraham van Diepenbeeck, Justus van Egmont, George Jamesone, Willem Panneels, Cornelis Schut, Theodoor van Thulden, Frans Wouters, Jan van den Bergh, Matthias Jansz van den Bergh, Johann Bockhorst, Lucas Franchoys der Jüngere, Erasmus Quellinus II., Cornelio Schut |
| Influenced by | Paolo Veronese, Pieter Bruegel der Ältere |
| Notable works | Die Aufrichtung des Kreuzes (1610), Der Raub der Toechter des Leukippos (1618), Die drei Grazien (1630), Samson und Delilah (1609), Kreuzabnahme (1611) |
| Museums | Bayerische Staatsgemaeldesammlungen (Pinakothek), KMSKA Antwerpen, Staatliche Museen zu Berlin, Statens Museum for Kunst, Art Institute of Chicago |
In the 16th century art had reached an international level. Italy was still considered the cradle of art. Artists from all parts of Europe travelled the country and took impressions with them into the respective regions of their sphere of influence. Peter Paul Rubens witnessed the development of the Baroque in Italy and was impressed by Tizians's intense coloration and its skill in using light effects. In Antwerp, Rubens used the seclusion to develop his own painting style and a baroque pictorial language from the knowledge gained. The weapons in the Eighty Years War were at rest and Antwerp was in a deep sleep of artistic development. Ruben's progressive ideas met with great interest and made him a much sought-after artist.
Rubens is closely connected with the depictions of women with all physical attractions. Rubens' language shows respect and esteem for the female forms. The three Graces symbolise chastity, beauty and love. The bodies full of movement, the nuances of the skin are the defining features of the picture and framed by a colourful composition. Peter Paul Rubens developed a dynamic and colourful style. He believed in the great importance of brushstroke and colour. His figures show joy of life and are open to the pleasures of the world. At the same time Rubens combines the real with the mystical. Delacroix and Renoir take up similar ways of representation and develop the brushwork further. Rubens' ability to lift worldly themes into an allegorical context assured the painter of the good will of the different schools of thought in the country. Rubens inspired without polarizing and became a respected and wealthy artist.
Rubens tolerated only a few painters beside him. The artist founded a studio and took aspiring artists to his side. The order situation was often so brilliant that Rubens limited himself to making sketches and gave the painting to his apprentices. Rubens used the skills of diplomacy to communicate the still controversial situation in the country. His positive influence was rewarded with a knighthood. Wealth and power could not protect the great artist from one of the worst diseases that can strike a painter. Rubens fell ill with gout. Many of his late works lack the dynamism that could be due to the illness or the lifelong development that characterized Rubens.
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| Born | 1577 (Siegen) |
| Died | 1640 (Antwerpen) |
| Nationality | Belgium |
| Epochs | Baroque, Flämische Barockmalerei |
| Genre | Historienmalerei, religiöses Gemälde, Akt, Porträtmalerei, mythologische Malerei, Landschaftsmalerei, Porträt, Genreszene, religiöse Kunst, Tier in der Kunst |
| Profession | Diplomat, Maler, Grafiker, Druckgrafiker, Architekturzeichner, Bildhauer, bildender Künstler |
| Family | Father: Jan Rubens Mother: Maria Pypelinckx Spouse: Isabella Brant Child: Albert Rubens, Nicolaas Rubens, Peter Paul Rubens III, Claire Rubens, Clara Serena Rubens Sibling: Christine von Diez, Philip Rubens |
| Teacher | Tobias Verhaecht, Adam van Noort, Otto van Veen |
| Student | Anthonis van Dyck, Abraham van Diepenbeeck, Justus van Egmont, George Jamesone, Willem Panneels, Cornelis Schut, Theodoor van Thulden, Frans Wouters, Jan van den Bergh, Matthias Jansz van den Bergh, Johann Bockhorst, Lucas Franchoys der Jüngere, Erasmus Quellinus II., Cornelio Schut |
| Influenced by | Paolo Veronese, Pieter Bruegel der Ältere |
| Notable works | Die Aufrichtung des Kreuzes (1610), Der Raub der Toechter des Leukippos (1618), Die drei Grazien (1630), Samson und Delilah (1609), Kreuzabnahme (1611) |
| Museums | Bayerische Staatsgemaeldesammlungen (Pinakothek), KMSKA Antwerpen, Staatliche Museen zu Berlin, Statens Museum for Kunst, Art Institute of Chicago |
In the 16th century art had reached an international level. Italy was still considered the cradle of art. Artists from all parts of Europe travelled the country and took impressions with them into the respective regions of their sphere of influence. Peter Paul Rubens witnessed the development of the Baroque in Italy and was impressed by Tizians's intense coloration and its skill in using light effects. In Antwerp, Rubens used the seclusion to develop his own painting style and a baroque pictorial language from the knowledge gained. The weapons in the Eighty Years War were at rest and Antwerp was in a deep sleep of artistic development. Ruben's progressive ideas met with great interest and made him a much sought-after artist.
Rubens is closely connected with the depictions of women with all physical attractions. Rubens' language shows respect and esteem for the female forms. The three Graces symbolise chastity, beauty and love. The bodies full of movement, the nuances of the skin are the defining features of the picture and framed by a colourful composition. Peter Paul Rubens developed a dynamic and colourful style. He believed in the great importance of brushstroke and colour. His figures show joy of life and are open to the pleasures of the world. At the same time Rubens combines the real with the mystical. Delacroix and Renoir take up similar ways of representation and develop the brushwork further. Rubens' ability to lift worldly themes into an allegorical context assured the painter of the good will of the different schools of thought in the country. Rubens inspired without polarizing and became a respected and wealthy artist.
Rubens tolerated only a few painters beside him. The artist founded a studio and took aspiring artists to his side. The order situation was often so brilliant that Rubens limited himself to making sketches and gave the painting to his apprentices. Rubens used the skills of diplomacy to communicate the still controversial situation in the country. His positive influence was rewarded with a knighthood. Wealth and power could not protect the great artist from one of the worst diseases that can strike a painter. Rubens fell ill with gout. Many of his late works lack the dynamism that could be due to the illness or the lifelong development that characterized Rubens.