Peter Paul Rubens
Found in 259 Collections and/or Records:
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Vanderbilt photo identifier: SC.MSS.088.FLEM.1008; Public Notes:
A Shepherd with his Flock in a Woody Landscape, Depiction of a shepherd and his sheep standing near a stream in a woody landscape., c.1615-1622
Vanderbilt photo identifier: SC.MSS.088.FLEM.0908.1; Public Notes: The inventory number for this piece is NG2924. X-radiographs reveal that a group of cottages were once present in this painting and have since been painted out. This composition recurs with slight variations in Rubens's "The Watering Place."
Achilles Discovered by Ulysses and Diomedes, In this painting, we see Achilles standing in the center of the composition with his sword pulled back, revealing himself as a man and not the woman he's dressed as. Ulysses and Diomedes stand on the right while Deidamia, Achilles's love, stands in a white gown on the left., 1617-1618
Vanderbilt photo identifier: SC.MSS.088.FLEM.1048; Public Notes: This work was made by Van Dyck when he was a student of Rubens and was later completed by Rubens. Sir Dudley Carleton, an English collector, rejected the piece because it was not entirely done by Rubens's hand.
Adam and Eve, In this painting, Eve reaches to grab the forbidden fruit from the devil, who is half child and half serpent. Adam sits at the base of the tree of knowledge and tries to stop her. Behind Adam is a parrot perched on a limb symbolizing Good while a fox is at Eve's feet symbolizing Evil., 1628-1629
Vanderbilt photo identifier: SC.MSS.088.FLEM.1062; Public Notes: This painting is a copy of a painting made by Titian for Felipe II.
Adoration of the Magi (detail), This image is a detail shot of the kings who have come to visit Christ. The king in front holds a gift contained in a small casket. In the background to the right is the head of an armed soldier., c.1633
Vanderbilt photo identifier: SC.MSS.088.FLEM.0942; Public Notes: According to our photograph, this piece was sold at Sotheby's in the 1950's. The sketch for this piece belongs to the Wallace Collection. Many variations occurred between the initial sketch and the final painting.
Adoration of the Magi (detail), This image is a detail shot of the Virgin Mary and St. Joseph holding the Christ child out towards the Magi. The head of one of the kings can be seen in the bottom left corner., c.1633
Vanderbilt photo identifier: SC.MSS.088.FLEM.0941.2; Public Notes: According to our photograph, this piece was sold at Sotheby's in the 1950's. The sketch for this piece belongs to the Wallace Collection. Many variations occurred between the initial sketch and the final painting.
Adoration of the Magi, In this painting, the Virgin Mary and Christ child sit enthroned on the right of this composition as they are approached by the Magi. A crowd of onlookers stand on the stairs in the background.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0933; Public Notes: According to the notes on the back of this photograph, this painting was sold at Christie's ob 5/28/1937.
Adoration of the Magi, This painting depicts the adoration of the Magi. The Virgin Mary holds the Christ child to the right of the composition; she extends her arms and holds him out in view of the kneeling kings. Two putti fly overhead admiring the Holy encounter., c.1633
Vanderbilt photo identifier: SC.MSS.088.FLEM.0941.1; Public Notes: According to our photograph, this piece was sold at Sotheby's in the 1950's. The sketch for this piece belongs to the Wallace Collection. Many variations occurred between the initial sketch and the final painting.
Adoration of the Magi, This painting depicts the Holy Family in the left of the composition standing underneath a classical column. Kings, bearing gifts, gather around the infant Christ. Two Titian-like angels fly overhead and the artist himself is visible in the right of the composition riding horseback., 1609-1628
Vanderbilt photo identifier: SC.MSS.088.FLEM.0959; Public Notes: This painting was originally much smaller. It was in 1628/29 that the angels were added as well as Rubens's self-portrait on horseback.
Adoration of the Magi, This photograph depicts an excerpt from the painting "The Adoration of the Magi." Here we see the Holy Family positioned beneath a classical column. Kings bearing gifts surround the Christ child., 1609-1628
Vanderbilt photo identifier: SC.MSS.088.FLEM.0960; Public Notes: This painting is much larger in actuality. Additions to the painting were made in 1628/29.
Adoration of the Shepherds, Depiction of the Virgin nursing the infant Christ child. A cow stands to her left and shepherds stand in awe of the Christ child on her right.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0837; Public Notes:
Adoration of the Shepherds, In this painting, the Holy Family and shepherds surround sleeping Christ child in adoration as angels fly overhead., 1608
Vanderbilt photo identifier: SC.MSS.088.FLEM.0945; Public Notes: This painting once stood as an altarpiece in the Constantine chapel in the Oration Church of Santo Spirito (San Filippo Neri). Several sketches of this piece exist.
Adoration of the Shepherds, This image is a detail depicting the angels that fly overhead of the infant Christ child in Rubens's "The Adoration of the Magi.", 1608
Vanderbilt photo identifier: SC.MSS.088.FLEM.0947; Public Notes: This painting once stood as an altarpiece in the Constantine chapel in the Oratorian Church of Santo Spirito (San Filippo Neri). Several sketches of this piece exist.
Adoration of the Shepherds, This work is a modello for the larger work that resides as an altarpiece in the Church of Santo Spirito in Fermo. In this painting, the Holy Family and shepherds surround the sleeping Christ child in adoration as angels fly overhead., 1608
Vanderbilt photo identifier: SC.MSS.088.FLEM.0944; Public Notes: This painting belonged to the collection of Count von Bruhl in Dresden before it was acquired by the State Hermitage Museum in 1769.
Allegory of Eternity, This painting depicts an elderly veiled woman looking up at a genius who flies overhead. The genius carries a hoop-like form symbolic of Eternity in her left hand while grasping in her right hand the end of the rope handed to her by the veiled woman. Three putti stand in the foreground supporting the rope., 1625-1630, Photographed in 1931
Vanderbilt photo identifier: SC.MSS.088.FLEM.1095; Public Notes: This piece once belonged in the Stroganoff Collection as indicated in our photograph.
Ana de Austria, wife of Louis XIII, Portrait of Ana de Austria, Felipe III's daughter and wife of Louis XIII. She is seated in three quarter's view wearing black, French-style clothing. Above her hangs a green canopy embroidered with fleur de lis from the Bourbon family coat of arms., c.1622
Vanderbilt photo identifier: SC.MSS.088.FLEM.0847; Public Notes: This piece is paired with the portrait of Marie de Medici, the sitter's mother-in-law (P1685). The reference number for this piece is PO1689. Our photographer wrongly attributes the Metropolitan Museum of Art as the current repository.
Apotheosis of Henry IV, On the left side of this composition, Henry IV ascends to the Heavens welcomed by Jupiter, representing the King's counterpart, and Saturn, personifying finite time and Henry's mortal existence. On the right of the composition, a female figure personifying France kneels before Marie de Medici offering her an orb symbolizing the Regency of France., 1621-1625
Vanderbilt photo identifier: SC.MSS.088.FLEM.1012; Public Notes: This piece is one in a series of 21 paintings depicting the life of Marie de Medici. The series was commissioned by Marie herself and once hung in the Queen's palace, the Palais du Luxembourg.
Atalanta and Meleager hunting the Wild Boar of Calydon, Depiction of Meleager (right) and his love Atlanta (center) hunting a giant, wild boar with the help of their cousins Castor and Pollux as told in Ovid's Metamorphoses. This is the moment right after Atalanta sics the dogs on the boar after just having mortally wounded the animal., c.1636
Vanderbilt photo identifier: SC.MSS.088.FLEM.0906; Public Notes: This painting is characteristic of one of Rubens's later works. This piece belonged to the painter until his death in 1640 when it was acquired by Felipe IV.
Bacchus on the Barrel, In this painting, Bacchus, the god of wine, sits naked on a barrel as a female figure stands behind him and fills his chalice with wine., c.1638-1640
Vanderbilt photo identifier: SC.MSS.088.FLEM.1093; Public Notes: This painting was acquired by the Hermitage Museum from the collection of Pierre Crozat in 1772.
Bacchus on the Barrel, In this painting, Bacchus, the god of wine, sits naked on a barrel as a female figure stands behind him filling his chalice with wine., c.1640
Vanderbilt photo identifier: SC.MSS.088.FLEM.1092; Public Notes: Other variations of this painting exist.
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