Peter Paul Rubens in 10 Paintings

Peter Paul Rubens was a Flemish artist from the 17th century. He painted mythological, allegorical, religious, and court portraits. Not only that, but he designed cartoons for the Flemish tapestry workshops. While most of his time was spent painting, Rubens also represented the Spanish ruler, Isabella Clara Eugenia, and played a role in the settlement between England and Spain in 1630. Being a well-traveled diplomat benefited his artistic growth.

Here are 10 of Rubens’s most iconic paintings.

1. Equestrian Portrait of the Duke of Lerma

This portrait of the Duke of Lerma was painted in 1603 after Rubens’s first visit to Spain. It exemplifies his early works, showing an acute grasp of the model’s powerful persona. Along with a majestic pose, the Duke’s power is reinforced by his political prestige, showcased through a battle scene in the background. The composition drew on one of Titian’s portraits, yet Ruben made his version stand out by staging the main subject in a “Baroque” way: imposing and magnificent, almost as if he is advancing towards us. This approach was picked up by many other artists who would use it in later equestrian portraits.

2. The Descent from the Cross

Next up is a biblical scene painted in 1611. In this incredible masterpiece, Rubens depicts Christ’s descent from the cross in a dramatic contrast of color and form. Christ’s limp body is spread out alongside white drapery, with his arms stretched out. The remaining figures are accentuated against a dark background in an approach resembling the chiaroscuro technique used by Caravaggio.

3. Judgement of Paris

One of the best examples of Peter Paul Rubens’s mythological paintings would be the Judgement of Paris. Set in a rural countryside at sunset, this painting is based on the Roman poet Lucian’s version of the myth, in which Paris could not choose a goddess while they were clothed and instead had them remove their clothing. On the far left, Minerva faces the viewer and pulls her robe over her head. On the far right stands Juno, glancing sideways while she lifts her cloak. Finally, the victorious Venus stands in the center, facing Paris as he hands her the golden apple.

Rubens painted many different versions of the judgement of Paris; for this one, he did not stray from the story written by Lucian. And he did an incredible job of showcasing the beauty of the female form.

4. An Autumn Landscape with a View of Het Steen in the Early Morning

The fourth painting on this list would have to be Rubens’s landscape of his own estate, which features an extremely detailed panoramic view of his countryside in Steen, south of Antwerp. It was painted for personal enjoyment and was never shown to the public until after his death. The painting represents Rubens’s success as a diplomat and a painter.

5. Le Chapeau de Paille

Next is this fascinating portrait of Susanna Lunden (1599–1643). Although the National Gallery of Art explains this as an educated guess, she was likely the daughter of a merchant named Daniel Fourment, an old friend and client of Rubens.

While the portrait is informal, Rubens paints Susanna in a bewildering way; her eyes are oversized, and her neck is elongated. The juxtaposition between her rosy cheeks and her red silk sleeves is captivating, along with how the blue background reflects through her ocean-blue eyes.

6. Marie de Médicis Arriving at Marseilles

In a more complex composition, Rubens paints the Queen of France arriving in Marseille on November 3rd, 1600. She stands in the center of the painting while being greeted by French diplomats, recognized through their fleur-de-lis cape. However, what makes this painting interesting is the bottom portion of the composition, which depicts Neptune and the daughters of Nereus.

Rubens created a scene that reinforced Marie de’ Medici’s right to the throne by illustrating French symbols that established respect.

7. The Rape of the Daughters of Leucippus

Another Greek mythological painting made by Rubens illustrates the graphic abduction of Helaera and Phoebe, the daughters of Leucippus. Their abductors are the demi-gods Castor and Pollux. This painting is known as an allegory for the soul’s transition to heaven. The composition has similar attributes to another Rubens painting, Marie de Médicis Arriving at Marseilles, which was made a few years later. He positions the bodies in an angular fashion, allowing the contrast of colors and textures to stand out.

8. The Garden of Love

Transitioning into a more common Baroque painting would be The Garden of Love from 1630. Originally, the artwork was listed in the 1666 inventories at the Royal Palace of Madrid. This particular painting was hung in the king’s bedroom, which is not surprising due to its subject matter. It is a genre painting depicted in an idyllic garden. The figures are elegantly dressed and participate in the activities of the upper class—leisure.

9. Consequences of War

Now, Rubens also painted war scenes like Consequences of War, commissioned for Ferdinando II de’ Medici. The painting is symbolic of the destruction of the Thirty Years’ War. In typical Rubens’s style, he included both modern, ancient, and mythological characters. He again painted the figures after the Baroque tradition by elongating their bodies and using color to create differentiation.

The Roman god of war and Mars are the main subjects of the painting. But other Roman gods, such as Venus, are also illustrated, making its storytelling and imagery pair well with Rubens’s other mythological scenes, such as Marie de Médicis Arriving at Marseilles and The Judgement of Paris.

10. Self-Portrait

Last but certainly not least is Rubens’s Self-Portrait from 1623. He stunningly captured himself in the Baroque fashion through his use of light and shadows. On the right side of the composition, the painting is dark, almost completely black, while the left side is much lighter, as the sky begins to peak through the artwork. Finally, Rubens’s self-portrait is significant because he presented himself as a diplomat instead of an artist.

Therefore, the question remains–was Peter Paul Rubens more proud of his diplomatic efforts or his success as a painter?