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Rubens was quite fond of painting full-figured women, giving rise to terms like 'Rubensian' or 'Rubenesque' (sometimes 'Rubensesque'). His large-scale cycle representing Marie de' Medici focuses on several classic female archetypes like the virgin, consort, wife, widow, and diplomatic regent. [ 46 ]
Such paintings continued to be made in Antwerp by Gerard Thomas (1663–1721) and Balthasar van den Bossche (1681–1715), and foreshadow the development of the veduta in Italy and the galleries of Giovanni Paolo Pannini. Jan Brueghel the Elder, Flower Still Life, 1606/7. Brueghel was an innovator of the flower still life genre.
The painting of Samson and Delilah can be seen in Frans Fracken the Younger's painting Banquet at the House of Burgomaster Rockox, where the painting is hanging above the mantelpiece. Notably, this 17th-century depiction of the original Rubens painting shows Samson's foot included wholly within the frame of the composition.
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The drawing was used as a basis for three oil portraits. The 1621 painting of Brant outside the portico of the family home, was done by Rubens' pupil, Anthony van Dyck as a parting gift to his mentor. The striking similarity between the portrait and drawing meant that van Dyck would have had access to the sketch for this work.
Bacchanalia is a c. 1615 oil painting of Bacchus, Silenus, bacchantes and satyrs by Peter Paul Rubens. Originally painted on panel, it was transferred to canvas by A. Sidorov in 1892. Originally painted on panel, it was transferred to canvas by A. Sidorov in 1892.
Unsigned, the painting is attributed to de Arellano due to the wide variety of flowers scientifically portrayed, the precise underdrawing and the quite free arrangement of them with the petals (especially those of the red and white tulip at bottom left) seemingly troubled by a breeze, though the inclusion of a dahlia and orange blossom is rare ...
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