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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 ]
In 1671 an argument broke out in the French Royal Academy of Painting and Sculpture in Paris about whether drawing or color was more important in painting. On one side stood the Poussinists (Fr. Poussinistes ) who were a group of French artists, named after the painter Nicolas Poussin , who believed that drawing was the most important thing. [ 1 ]
The Rainbow Landscape (1640) by Rubens. The Rainbow Landscape is a 1640 oil-on-panel painting by Peter Paul Rubens, now in the Alte Pinakothek in Munich. [1] One of the painter's last works and the third of three autograph works on the same subject, it mixes Italian and Flemish influences in a style reminiscent of Rubens' friend Jan Bruegel the Elder but with figures drawing on nymphs from the ...
Leda and the Swan is an oil painting by Peter Paul Rubens, who painted two versions of this subject. The first was completed in 1601 and the second in 1602. Rubens was heavily influenced by Michelangelo, [1] and both paintings are variations on Michelangelo's famous lost painting, which is known from copies and prints. [2]
Portrait of a Young Woman is an unfinished painting of around 1603, attributed to Rubens.It may be connected with a commission from Vincenzo Gonzaga, Duke of Mantua mentioned in Rubens' letters, during the latter's time in Italy and Spain, to paint aristocratic Spanish ladies to add to the duke's 'gallery of beauties'.
The Feast of Venus is an oil on canvas painting by Flemish painter Peter Paul Rubens, created in 1635–1636, now in the Kunsthistorisches Museum in Vienna. It is a fanciful depiction of the Roman festival Veneralia celebrated in honor of Venus Verticordia .
Susanna and the Elders is a painting by Flemish artist Peter Paul Rubens from 1607. It is housed in the Galleria Borghese in Rome, Italy. There is another version, a youthful work from 1608, in Real Academia de Bellas Artes de San Fernando, in Madrid.
The side paintings are therefore turned toward the central panel with the venerated Madonna della Vallicella. Their placement directs the devotional gazes of Pope Gregory and Saint Domitilla toward the altar. [2] The paintings of the Chiesa Nuova are the only works Rubens made in Rome that remained in the original locations.