Peter Paul Rubens
Peter Paul Rubens's Oil Paintings
Peter Paul Rubens Museum
June 28, 1577 – May 30, 1640. Flemish Baroque painter.

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Peter Paul Rubens
Henry IV at the Battle of Ivry

ID: 30014

Peter Paul Rubens Henry IV at the Battle of Ivry
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Peter Paul Rubens Henry IV at the Battle of Ivry


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Peter Paul Rubens

Flemish Baroque Era Painter, 1577-1640 Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England. Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems. His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.  Related Paintings of Peter Paul Rubens :. | The Sacrifice of Isaac (mk01) | The Straw Hat | Philip IV in Brown and Siver (mk01) | Portrait of prince Wladyslaw Vasa in Polish costume | The Entombment |
Related Artists:
Pierre Mignard
French Baroque Era Painter, 1612-1695 Pierre Mignard (7 novembre 1612 - May 30, 1695), called "Le Romain" to distinguish him from his brother Nicolas, was a French painter. He was born at Troyes, and came of a family of artists; he also needs to be distinguished from his nephew Pierre (1640-1725), often called "Pierre II" or "Le Chevalier". In 1630 he left the studio of Simon Vouet for Italy, where he spent twenty-two years, and made a reputation which brought him a summons to Paris. Successful with his portrait of the king, and in favour with the court, Mignard pitted himself against Le Brun, declined to enter the Academy of which he was the head, and made himself the centre of opposition to its authority. The history of this struggle is most important, because it was identical, as long as it lasted, with that between the old gilds of France and the new body which Colbert, for political reasons, was determined to support.. Portrait of Louise de Kerouaille, Duchess of Portsmouth. Wikimedia Commons has media related to: Pierre Mignard Shut out, in spite of the deserved success of his decorations of the cupola of Val de Grace (1664), from any great share in those public works, the control of which was the attribute of the new Academy, Mignard was chiefly active in portraiture. Turenne, Moliere, Bossuet, Maintenon (Louvre), La Valliere, Sevigne, Montespan, Descartes (Castle Howard), all the beauties and celebrities of his day, sat to him. His readiness and skill, his happy instinct for grace of arrangement, atoned for want of originality and real power. With the death of Le Brun (1690) the situation changed. Mignard deserted his allies, and succeeded to all the posts held by his opponent. These late honours he did not long enjoy. In 1695 he died whilst about to commence work on the cupola of the Invalides. His best compositions have been engraved by Audran, Edelinck, Masson, Poilly and others. There is a good selection of works by Pierre, Nicolas, and Pierre II in Avignon at the Mus??e Calvet. The Courtauld Institute of Art (London), Harvard University Art Museums, the Hermitage Museum, the Honolulu Academy of Arts, Kunst Indeks Danmark, the Louvre, Mus??e d'art et d'histoire (Geneva), Mus??e des Augustins (Toulouse, France), Mus??e Ingres (Montauban, France), Museo Lombardi (Parma, Italy), the Museum of Fine Arts, Houston, the National Gallery, London, the National Portrait Gallery, London, the North Carolina Museum of Art, the Portland Art Museum and Versailles are among the public collections holding works by Pierre Mignard
Olivier, Johann Heinrich Ferdinand
German, 1785-1841
Georges Laugee
Georges Laugee was born in Montivilliers on December 19, 1853. His father, Desire Laugee, was an important French Realist artist; a contemporary of Jules Breton and specialized in portraying the workers in the field. Georges received his early training with his father and then, like many artists of his time, continued his studies at le Ecole des Beaux-Arts. There he studied at the ateliers of Isidore Pils and Henri Lehmann where he mastered the art of life studies and sketching. In 1877 he made his debut at the Paris Salon and in 1881 was awarded the bronze medal for his Salon entries of that year: En Octobre and Pauvre aveugle. Following his love of nature and the farm worker, Laugee focused on scenes of everyday life. His works, often featuring the peasants tending their animals or working in the fields, are filled with light and realism. Among the works that Georges chose to exhibit at the Paris Salons were; his 1890 submissions Le Repos and Le Retour des Champs; 1897 submission Sous leaverse (In the Storm) and his 1904 works Deux Amies and Au Temps des bles murs, which portrayed peasant girls in the country. At the Salon of 1906 he exhibited Soleil Couchant (Sunset) and Heure doree (Golden Hour) and continued to exhibit works of similar subject matter through 1928. In 1889 he participated in the Exposition Universelle, where he received a bronze medal and in the Exposition Universelle of 1900 was awarded the silver medal for his painting entitled Au printemps de la vie (In the Springtime). From 1907 -- 1909 Laugee was a Membre du Comite de la Societe des Artistes Français and was a member of the Jury at the Salon from 1908 -- 1910. Laugee painting entitled The Favorite. exhibited at the Paris Salon of 1891 and a very similar composition to Bergere et Mouton (featured below) - was illustrated in Famous Paintings of the World, published in 1894. The accompanying caption reads as follows: In every family, however impartial the parents try to feel, there is always one child for whom, could she bring herself to confess it, the mother has a place in her heart a little warmer than she keeps for any other. The little shepherdess in this charming picture is exemplifying this universal truth of human nature, in her quiet encouragement of the approaches of the favorite lamb of her little flock. This is the pet lamb that she helps over all the stony places, and with which she shares even her own frugal meal. It is a simple story the artist has chosen to tell; but he has set it in a scene of tender and idyllic beauty, thoroughly appropriate to the gentle theme of affection he has selected for the central thought. He has contrasted effectively the simplicity of the shaded hillside nook, speckled with daisies and peopled with the inoffensive flock, and the ripe, full glory of the day, resplendent in the high-banked clouds, and reflected from the still surface of the breezeless summer lake. The photograph reproduction of this canvas has very successfully preserved the painty qualities of the original, so completely transferring to the engraving the technique of the artist that it is impossible that this should be anything other than what it is -- a direct engraving from a masterly painting in oil colors. Laugee first atelier, located at 20, boulevard Flandrin, Paris, was also the home of the great realist artist Julien Dupre brother-in-law) and just after Dupre death in 1910, Laugee moved to 23, boulevard Lannes. By 1923 he had relocated to 123, Rue de la Tour; where it appears that he remained for the rest of his life.






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