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A little before beginning the cycle for the Jesuit church, Rubens had in fact completed a study trip to Venice. His composition recalls, in particular, so many group portraits of aristocratic Venetian families in prayer. One good example is the family Vendramin by Titian. Rubens's painting also shows the influence of Paolo Veronese and ...
The Adoration of the Magi is a painting of 1633–34 by the Flemish Baroque artist Peter Paul Rubens, made as an altarpiece for a convent in Louvain. It is now in King's College Chapel, Cambridge, in England. It measures 4.2 m × 3.2 m (13 ft 9 in × 10 ft 6 in).
The Virgin and Child surrounded by the Holy Innocents (1616) by Rubens. The Virgin and Child surrounded by the Holy Innocents or The Virgin and Child with Angels is a 1616 oil painting by Peter Paul Rubens, showing the Virgin and Christ Child with the Holy Innocents. It was originally produced as oil on panel, before being transferred to canvas.
The remains of Rubens's second wife Helena Fourment and two of her children (one of whom was fathered by Rubens) were later also laid to rest in the chapel. Over the coming centuries about 80 descendants from the Rubens family were interred in the chapel. [42]
Peter Paul Rubens painted the Adoration of the Magi (Matthew 2:1ff) more often than any other episode from the life of Christ. [1] The subject offered the Counter-Reformation artist the chance to depict the richest worldly panoply, rich textiles, exotic turbans and other incidents, with a range of human types caught up in a dramatic action that expressed the humbling of the world before the ...
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The Crowning of Saint Catherine (1631) by Peter Paul Rubens The Crowning of Saint Catherine is an oil-on-canvas painting by Peter Paul Rubens , now in the Toledo Museum of Art . It portrays Catherine of Alexandria , an early-4th-century martyr, being crowned by the infant Jesus, sitting on his mother's lap.
Samson and Delilah is a painting long attributed to the Flemish Baroque artist Peter Paul Rubens (1577–1640) in the National Gallery, London. It dates from about 1609 to 1610. Two preliminary copies of the painting exist today: an ink-and-wash drawing on paper, and an oil sketch on wood panel.