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I'll Be Seeing You (song)
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"I'll Be Seeing You"
Song
Published
1938
Composer(s)
Sammy Fain
Lyricist(s)
Irving Kahal
"I'll Be Seeing You" is a popular song, with music by Sammy Fain and lyrics by Irving Kahal.[1] Published in 1938, it was inserted into the Broadway musical Right This Way, which closed after fifteen performances.[2] In the musical it was performed by the singer Tamara Drasin, who had a few years earlier introduced "Smoke Gets in Your Eyes". The song is a jazz standard, and has been covered by many musicians.
The musical theme has emotional power, and was much loved during World War II, when it became an anthem for those serving overseas (both British and American soldiers). The lyrics begin, in Bert Ambrose's and Vera Lynn's recorded versions, with a preamble:
Cathedral bells were tolling and our hearts sang on
Was it the spell of Paris or the April dawn?
Who knows if we shall meet again?
But when the morning chimes ring sweet again ...
I'll be seeing you in all the old familiar places
As the song develops, the words take a jaunty commonplace of casual farewell and transform it by degrees, to climax with
And when the night is new
I'll be looking at the moon
But I'll be seeing you
The resemblance between the main tune's first four lines and a passage within the theme of the last movement of Gustav Mahler's Third Symphony (1896) was pointed out by Deryck Cooke in 1970.[3]
Contents
[hide]
1 Film and television performances
2 Covers
3 Notes
4 External links
Film and television performances[edit]
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Featured throughout the 1944 movie also titled I'll Be Seeing You, starring Ginger Rogers and Joseph Cotten (when it was performed by the off-screen voice of Louanne Hogan),[4] the recording by Bing Crosby became a hit that year, reaching number one for the week of July 1.[5] Later the song became notably associated with Liberace, as the theme music to his television show of the 1950s.
In 1956, Jackie Gleason's character, Ralph Kramden, referenced the song in an episode of The Honeymooners in which Kramden experienced an early exit on the game show, The $99,000 Answer, and refused to leave the stage.
The song was heard in an episode of the 1960s spy spoof Get Smart, when the main character had a high-tech trumpet that could play any tune, just by speaking the title into the mouthpiece.
The Anne Shelton version of the song was aptly used in the 1979 film Yanks, starring Richard Gere, a World War II story set in England in 1943-44.[6]
In a 1987 episode of Designing Women, appropriately titled 'I'll Be Seeing You', Jean Smart's character Charlene dreams that the cast is back in the World War II era; Charlene performs the song herself and the Bing Crosby version is also featured.
It was also played in the 1989 Woody Allen film Crimes and Misdemeanors; in the end credits of the 1990 film Misery (Liberace's rendition);[7] in the 1992 movie Shining Through;[8] in two episodes of Star Trek: Deep Space Nine; in the 1999 documentary Beyond the Mat (when the Rosemary Clooney version is heard),[9] in the 2004 film The Aviator (sung by Martha Wainwright),[10] and the Jimmy Durante version is heard in the 2004 film The Notebook as the song for Noah and Allie.
It was featured and performed by Anne Shelton in "Dance with the Dead", a 2006 episode of Midsomer Murders, which was set near an old World War II airfield. It was also played in the closing credits for the final (until 2011) episode of Beavis and Butt-head; in the 2010 season 4 episodes of Eureka ("Founder's Day" "A New World" and "I'll Be Seeing You"). On the final episode of The Tonight Show starring Johnny Carson which was aired on May 22, 1992, Doc Severinsen and the NBC Orchestra closed the show with it, as it was one of Carson's favorite songs.
During the 2009 Academy Awards presentation, Queen Latifah sang the song during the "In Memoriam" tribute to members of the motion picture industry who had died during the previous year, which was unusual because the In Memoriam tribute was previously traditionally unaccompanied.[11][12]
On October 26, 2014, the song was played as part of a video tribute to Robin Williams at AT&T Park, before Game 5 of the World Series between the San Francisco Giants and the Kansas City Royals.[13]
On her 2016 album Encore: Movie Partners Sing Broadway, Barbra Streisand performs "I'll Be Seeing You" (combined with "I've Grown Accustomed to Her Face" from the 1954 Lerner & Loewe musical My Fair Lady), as a duet with actor Chris Pine.
Covers[edit]
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The song has been recorded by many artists:
Al Hirt released a version on his 1965 album They're Playing Our Song[14]
Andrea Corr performed "I'll Be Seeing You" on her 2011 album Lifelines
Anne Murray recorded a version for her Greatest Hits compilation All of Me
Anne Shelton performed "I'll Be Seeing You" in Midsomer Murders
Barbra Streisand performs "I'll Be Seeing You" (combined with I've Grown Accustomed to Her Face from the 1954 Lerner & Loewe musical My Fair Lady), as a duet with actor Chris Pine on her 2016 album Encore: Movie Partners Sing Broadway.
Barry Manilow on his 1991 studio album Showstoppers
Billie Holiday recorded the song on April 1, 1944 for Commodore Records.[15]
Bill Kenny on his 1966 album Remember Me
Bing Crosby recorded it on February 17, 1944 for Decca Records with John Scott Trotter and His Orchestra.[16]
Brad Mehldau on his live album The Art of the Trio, Vol. 4 (Back at the Vanguard)
Brenda Lee on her 1962 album Sincerely, Brenda Lee
Carmen McRae on her album When You're Away (1958)[17]
Cass Elliot on her live album Don't Call Me Mama Anymore
Connee Boswell, Studio & Radio Broadcast Recordings, 1931 - 1946
Dean Martin on his 1965 album Dean Martin Hits Again
Engelbert Humperdinck on his 1985 album A Lovely Way to Spend an Evening[18]
Eric Clapton recorded it on his 2016 CD I Still Do
Etta James on her 1994 cover album Mystery Lady: Songs of Billie Holiday
The Five Satins recorded the song in 1959
The Four Freshmen recorded the song in 1952 and again in 1953
Françoise Hardy and Iggy Pop on the 1998 album Jazz a Saint-Germain
Frank Sinatra recorded multiple versions of the song,[19] initially with Tommy Dorsey and His Orchestra (1940) (which charted in 1944 peaking at No. 4),[20] and two in 1961, the first for Capitol Records was included in the album Point of No Return and the second for Reprise Records which was more upbeat and "swinging" than later slower versions of the song. This was included in the album I Remember Tommy.
Harry James on his album For Listening And Dancing (Reader's Digest RD4A 213, 1981)
Holly Cole on her album Blame It on My Youth
The Hollywood Flames released a version of the song as a single in 1959[21]
James Booker recorded the song
James Darren, twice on Star Trek: Deep Space Nine as the character Vic Fontaine, later on also on his album This One's from the Heart
Jane Morgan recorded it on her album The American Girl from Paris (1956)[22]
Jimmy Durante; a recording from his 1960s TV show was used in the motion picture The Notebook
Johnny Mathis, on the album Open Fire, Two Guitars (1959)
Jo Stafford recorded the song for her 1959 album I'll Be Seeing You with arrangements by Paul Weston (her husband) as the band leader
Judy Collins on her 1975 album Judith
Julian Lage on his 2016 album ARCLIGHT
June Tabor on her CD A Quiet Eye (2000)
Linda Ronstadt on her CD Hummin' to Myself (2004)
Liza Minnelli on her 2002 live album Liza's Back
Louis Prima recorded two versions, first in 1944 with Lily Ann Carol, another in 1960 with Keely Smith[23]
Mario Lanza included the song on his album Mario Lanza Sings the Hit songs from The Student Prince and Other Great Musical Comedies (1954)[24]
Mel Tormé recorded several studio versions of the song as well as a live performance with pianist George Shearing on the Concord Records album An Elegant Evening
Michael Bublé recorded it on his EP First Dance (1995)
Mina recorded and released the song on her 2012 album 12 (American Song Book)
Neil Sedaka recorded a version in 1964 but it was not released until 2005, when it was issued on his Love Songs album
Peggy Lee recorded it on her 1972 album Norma Deloris Egstrom from Jamestown, North Dakota
The Poni-Tails sang the song in 1959 when it reached as high as #87 in the U.S.
Queen Latifah sang the song during the "In Memoriam" tribute during the 81st Academy Awards
Ray Charles recorded it in 1967 on his album Invites You to Listen
Ray Conniff recorded it in 1959 with his orchestra and singers in a very upbeat and swinging version on his album Young At Heart
Regina Carter recorded it in 2006 on her album I'll Be Seeing You: A Sentimental Journey
Rickie Lee Jones on her 1991 album Pop Pop
Rod Stewart on his 2002 album It Had to Be You: The Great American Songbook
Roseanna Vitro performed it as a Bossa Nova on her 2004 album Tropical Postcards.
Rosemary Clooney recorded it in 1990 in her homage to the "War Years" on an album entitled For the Duration (1991)
Sarah Vaughan on her 1960 album Dreamy and her 1963 live album Sassy Swings the Tivoli
The Skyliners and The Belmonts recorded the song
Sonny Rollins in his 1982 concert in Montreal
Steve Tyrell recorded the song on his 1999 album A New Standard* The Blanks recorded an a cappella version on their 2004 album Riding the Wave
Tony Bennett included the song as the final track on his 1992 album Perfectly Frank
Vera Lynn recorded the song in 1962[25] and again in 1966 for her album More Hits of the Blitz.[26]
The Vocal Majority recorded the song on I'll Be Seeing You in 1990[27]
Willie Nelson recorded the song on Healing Hands of Time (1994)
Vov Dylan (Violin) and Glenn Amer Piano recorded this song as the closing number of their album "Timeless"[28]
Notes[edit]
Jump up ^ Leonard, Hal (January 1, 1995). I'll Be Seeing You: 51 Songs of World War II. Hal Leonard Corp. p. 47. ISBN 978-0793537617.
Jump up ^ Leonard, Hal (January 1, 1995). I'll Be Seeing You: 51 Songs of World War II. Hal Leonard Corp. p. 12. ISBN 978-0793537617.
Jump up ^ Cooke's radio broadcast is described in Hans Keller, 'Truth & Music', Music and Musicians Magazine, November 1970
Jump up ^ "Internet Movie Database". imdb.com. Retrieved June 20, 2017.
Jump up ^ Whitburn, Joel (1986). Joel Whitburn's Pop Memories 1890-1954. Wisconsin, USA: Record Research Inc. p. 109. ISBN 0-89820-083-0.
Jump up ^ "Internet Movie Database". imdb.com. Retrieved June 20, 2017.
Jump up ^ "Internet Movie Database". imdb.com. Retrieved June 20, 2017.
Jump up ^ "Internet Movie Database". imdb.com. Retrieved June 20, 2017.
Jump up ^ "Internet Movie Database". imdb.com. Retrieved June 20, 2017.
Jump up ^ "Internet Movie Database". imdb.com. Retrieved June 20, 2017.
Jump up ^ Carr, David (2009-02-19). "Oscars on TV: The Subtext". The New York Times. Retrieved 2009-04-24.
Jump up ^ Cieply, Michael and David Carr (2009-02-23). "A 'Slumdog' Kind of Night at the Oscar Ceremony". The New York Times. Retrieved 2009-04-24.
Jump up ^ Giants Honor Robin Williams Retrieved February 4, 2016.
Jump up ^ Al Hirt, They're Playing Our Song Retrieved April 13, 2013.
Jump up ^ "Billie Holiday Discography". jazzdisco.org. Retrieved June 20, 2017.
Jump up ^ "A Bing Crosby Discography". BING magazine. International Club Crosby. Retrieved June 20, 2017.
Jump up ^ "Discogs.com". Discogs.com. Retrieved June 20, 2017.
Jump up ^ "Discogs.com". Discogs.com. Retrieved June 20, 2017.
Jump up ^ Gilliland, John (1994). Pop Chronicles the 40s: The Lively Story of Pop Music in the 40s (audiobook). ISBN 978-1-55935-147-8. OCLC 31611854. Tape 1, side B.
Jump up ^ Whitburn, Joel (1986). Joel Whitburn's Pop Memories 1890-1954. Wisconsin, USA: Record Research Inc. p. 138. ISBN 0-89820-083-0.
Jump up ^ The Hollywood Flames, "I'll Be Seeing You" single release Retrieved February 4, 2016.
Jump up ^ "Discogs.com". Discogs.com. Retrieved June 20, 2017.
Jump up ^ LOUIS PRIMA SESSIONOGRAPHY / DISCOGRAPHY : 1933-1975 BY: GIA PRIMA and RON CANNATELLA
Jump up ^ "Discogs.com". Discogs.com. Retrieved June 20, 2017.
Jump up ^ "45cat.com". 45cat.com. Retrieved June 20, 2017.
Jump up ^ "Discogs.com". Discogs.com. Retrieved June 20, 2017.
Jump up ^ The Vocal Majority, I'll Be Seeing You Retrieved February 4, 2016.
Jump up ^ "Timeless by Vov Dylan on Apple Music". iTunes. Retrieved 2017-01-27.
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"I'll Get By (As Long as I Have You)"
by Harry James and His Orchestra with vocal chorus by Dick Haymes

"I'll Get By (As Long as I Have You)"
by Harry James and His Orchestra with vocal chorus by Dick Haymes The Billboard National Best Selling Retail Records number-one single
(Bing Crosby version)
July 1, 1944 (one week)
July 15 – July 29, 1944 (three weeks) Succeeded by
"I'll Get By (As Long as I Have You)"
by Harry James and His Orchestra with vocal chorus by Dick Haymes

"Swinging on a Star"
by Bing Crosby with John Scott Trotter and His Orchestra and the Williams Brothers Quartet
[show]
v
t
e
Billie Holiday
Discography
Awards and nominations
Albums
Billie Holiday Sings/Solitude
An Evening with Billie Holiday
Billie Holiday
Billie Holiday at JATP
Stay with Me
Music for Torching
Velvet Mood
Lady Sings the Blues
Body and Soul
Songs for Distingué Lovers
Ella Fitzgerald and Billie Holiday at Newport
All or Nothing at All
Lady in Satin
Last Recordings
The Essential Billie Holiday: Carnegie Hall Concert Recorded Live
Lady in Autumn: The Best of the Verve Years
Lady Day: The Complete Billie Holiday on Columbia 1933–1944
Remixed and Reimagined
Songs
"Ain't Nobody's Business"
"As Time Goes By"
"Billie's Blues"
"Blue Moon"
"Body and Soul"
"Do You Know What It Means to Miss New Orleans?"
"Don't Explain"
"Easy Living"
"Embraceable You"
"Everything Happens for the Best"
"Everything Happens to Me"
"Fine and Mellow"
"Gloomy Sunday"
"God Bless the Child"
"Good Morning Heartache"
"I Cover the Waterfront"
"I Loves You, Porgy"
"I Thought About You"
"I'll Be Seeing You"
"I'll Get By"
"I've Got My Love to Keep Me Warm"
"Just One of Those Things"
"Lady Sings the Blues"
"Left Alone"
"Love for Sale"
"Lover Man (Oh, Where Can You Be?)"
"Me, Myself, and I"
"Miss Brown to You"
"My Man"
"Moonlight in Vermont"
"Night and Day"
"No More"
"Now or Never"
"Our Love Is Different"
"P.S. I Love You"
"Pennies from Heaven"
"Please Don't Do It Here"
"Preacher Boy"
"Sophisticated Lady"
"Stormy Blues"
"Strange Fruit"
"Summertime"
"These Foolish Things (Remind Me of You)"
"Too Marvelous for Words"
"Trav'lin' Light"
"What a Little Moonlight Can Do"
"What Is This Thing Called Love?"
"Who Needs You (Baby)"
"Why Was I Born?"
"Willow Weep for Me"
"You Go to My Head"
Related topics
"Angel of Harlem"
Lady Sings the Blues (book)
Lady Sings the Blues (film)
Lady Sings the Blues (soundtrack)
Book
Category
[show]
v
t
e
Bing Crosby
Discography
Filmography
Albums
Music of Hawaii (1939)
Victor Herbert Melodies, Vol. One (1939)
Patriotic Songs for Children (1939)
Cowboy Songs (1939)
Victor Herbert Melodies, Vol. Two (1939)
George Gershwin Songs, Vol. One (1939)
Ballad for Americans (1940)
Favorite Hawaiian Songs (1940)
Christmas Music (1940)
Star Dust (1940)
Hawaii Calls (1941)
Small Fry (1941)
Crosbyana (1941)
Under Western Skies (1941)
Song Hits from Holiday Inn (w/ Fred Astaire) (1942)
Merry Christmas (1945)
Selections from Going My Way (1945)
Selections from The Bells of St. Mary's (1946)
Don't Fence Me In (1946)
The Happy Prince (1946)
Selections from Road to Utopia (1946)
Bing Crosby – Stephen Foster (1946)
What We So Proudly Hail (1946)
Favorite Hawaiian Songs, Vol. One (1946)
Favorite Hawaiian Songs, Vol. Two (1946)
Blue Skies (w/ Fred Astaire) (1946)
Bing Crosby – Jerome Kern (1946)
St. Patrick's Day (1947)
Bing Crosby – Victor Herbert (1947)
Selections from Welcome Stranger (1947)
Our Common Heritage (1947)
El Bingo (1947)
The Small One (1947)
The Man Without a Country (1947)
Drifting and Dreaming (1947)
Blue of the Night (1948)
Selections from Showboat (1948)
The Emperor Waltz (1948)
St. Valentine's Day (1948)
Bing Crosby Sings with Al Jolson, Bob Hope, Dick Haymes and the Andrews Sisters (1948)
Selections from Road to Rio (1948)
Bing Crosby Sings with Judy Garland, Mary Martin, Johnny Mercer (1948)
Bing Crosby Sings with Lionel Hampton, Eddie Heywood, Louis Jordan (1948)
Auld Lang Syne (1948)
A Connecticut Yankee in King Arthur's Court (1949)
Bing Crosby Sings Songs by George Gershwin (1949)
South Pacific (1949)
Christmas Greetings (1949)
Ichabod – The Legend of Sleepy Hollow (1949)
Top o' the Morning / Emperor Waltz (1949)
Songs from Mr. Music (1950)
Go West Young Man (1950)
Le Bing: Song Hits of Paris (1953)
Some Fine Old Chestnuts (1954)
Selections from White Christmas (1954)
Bing: A Musical Autobiography (1954)
High Tor (1956)
A Christmas Sing with Bing Around the World (1956)
High Society (w/ Frank Sinatra, Grace Kelly, and Louis Armstrong) (1956)
Songs I Wish I Had Sung the First Time Around (1956)
Bing Sings Whilst Bregman Swings (1956)
Bing with a Beat (1957)
A Christmas Story (1957)
Ali Baba and the Forty Thieves (1957)
Never Be Afraid (1957)
Jack B. Nimble – A Mother Goose Fantasy (1957)
New Tricks (1957)
Fancy Meeting You Here ( w/ Rosemary Clooney) (1958)
How the West Was Won (1959)
Bing & Satchmo (w/ Louis Armstrong) (1960)
101 Gang Songs (1960)
Holiday in Europe (1960)
The Road to Hong Kong (1962)
On the Happy Side (1962)
On the Sentimental Side (1962)
I Wish You a Merry Christmas (1962)
Reprise Musical Repertory Theatre (1963)
Return to Paradise Islands (1963)
Bing Crosby Sings the Great Country Hits (1963)
America, I Hear You Singing (w/ Frank Sinatra and Fred Waring) (1964)
12 Songs of Christmas (w/ Frank Sinatra and Fred Waring) (1964)
That Travelin' Two-Beat (w/ Rosemary Clooney) (1965)
Bing 'n' Basie (w/ Count Basie) (1972)
A Couple of Song and Dance Men (w/ Fred Astaire) (1975)
Seasons (1977)
Bing Crosby: The Voice of Christmas (1998)
Family
Dixie Lee (first wife)
Gary Crosby (son)
Dennis Crosby (son)
Phillip Crosby (son)
Lindsay Crosby (daughter)
Kathryn Crosby (second wife)
Harry Crosby (son)
Mary Crosby (daughter)
Nathaniel Crosby (son)
Denise Crosby (granddaughter)
Larry Crosby (brother)
Bob Crosby (brother)
Related
Songs Bing Crosby recorded multiple times
A Tribute to Bing Crosby
Retrieved from "https://en.wikipedia.org/w/index.php?title=I%27ll_Be_Seeing_You_(song)&oldid=791860724"
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text:
Peter Paul Rubens
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Rubens" redirects here. For other uses, see Rubens (disambiguation).
Peter Paul Rubens
Self-portrait, 1623, Royal Collection
Born
(1577-06-28)28 June 1577
Siegen, Nassau-Dillenburg, Holy Roman Empire (now North Rhine-Westphalia, Germany)
Died
30 May 1640(1640-05-30) (aged 62)
Antwerp, Spanish Netherlands (now Belgium)
Nationality
Flemish
Education
Tobias Verhaecht
Adam van Noort
Otto van Veen
Known for
Painting, Printmaking
Movement
Flemish Baroque
Baroque
Spouse(s)
Isabella Brant
Helena Fourment
Signature
Sir Peter Paul Rubens (/ˈruːbənz/;[1] Dutch: [ˈrybə(n)s]; 28 June 1577 – 30 May 1640) was a Flemish artist. He is considered the most influential artist of Flemish Baroque tradition. Rubens' highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasized movement, color, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens specialized in making altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.
In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. Rubens was a prolific artist. The catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop.[2]
His commissioned works were mostly "history paintings", which included religious and 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 royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635.
His drawings are predominantly very forceful but not overly 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.
Contents
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1 Biography
1.1 Early life
1.2 Apprenticeship
1.3 Italy (1600–1608)
1.4 Antwerp (1609–1621)
1.5 The Marie de' Medici Cycle and diplomatic missions (1621–1630)
1.6 Last decade (1630–1640)
1.7 Death
1.8 Descendants
2 Art
2.1 Workshop
3 Selected works
4 Lost works
5 Art market
6 Selected exhibitions
7 In popular culture
8 See also
9 Notes
10 Sources
11 Further reading
12 External links
Biography[edit]
Early life[edit]
The garden Rubens planned at Rubenshuis, in Antwerpen
Rubens was born in the city of Siegen to Jan Rubens and Maria Pypelincks. He was named in honour of Saint Peter and Saint Paul, because he was born on their solemnity.[3] His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Habsburg Netherlands by the Duke of Alba.
Jan Rubens became the legal adviser (and lover) of Anna of Saxony, the second wife of William I of Orange, and settled at her court in Siegen in 1570, fathering her daughter Christine who was born in 1571.[4]
Following Jan Rubens' imprisonment for the affair, Peter Paul Rubens was born in 1577. The family returned to Cologne the next year. In 1589, two years after his father's death, Rubens moved with his mother Maria Pypelincks to Antwerp, where he was raised as a Catholic.
Religion figured prominently in much of his work, and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting[5] (he had said "My passion comes from the heavens, not from earthly musings").
Apprenticeship[edit]
Portrait of a Young Scholar, from 1597
In Antwerp, Rubens received a Renaissance humanist education, studying Latin and classical literature. By fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the city's leading painters of the time, the late Mannerist artists Adam van Noort and Otto van Veen.[6] Much of his earliest training involved copying earlier artists' works, such as woodcuts by Hans Holbein the Younger and Marcantonio Raimondi's engravings after Raphael. Rubens completed his education in 1598, at which time he entered the Guild of St. Luke as an independent master.[7]
Italy (1600–1608)[edit]
In 1600 Rubens travelled to Italy. He stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an immediate effect on Rubens's painting, and his later, mature style was profoundly influenced by Titian.[8] With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601. There, he studied classical Greek and Roman art and copied works of the Italian masters. The Hellenistic sculpture Laocoön and his Sons was especially influential on him, as was the art of Michelangelo, Raphael, and Leonardo da Vinci.[9] He was also influenced by the recent, highly naturalistic paintings by Caravaggio.
The Fall of Phaeton, 1604, in the National Gallery of Art in Washington, D.C.
Rubens later made a copy of Caravaggio's Entombment of Christ and recommended his patron, the Duke of Mantua, to purchase The Death of the Virgin (Louvre).[10] After his return to Antwerp he was instrumental in the acquisition of The Madonna of the Rosary (Kunsthistorisches Museum, Vienna) for the St. Paul's Church in Antwerp.[11] During this first stay in Rome, Rubens completed his first altarpiece commission, St. Helena with the True Cross for the Roman church of Santa Croce in Gerusalemme.
Rubens travelled to Spain on a diplomatic mission in 1603, delivering gifts from the Gonzagas to the court of Philip III.[12] While there, he studied the extensive collections of Raphael and Titian that had been collected by Philip II.[13] He also painted an equestrian portrait of the Duke of Lerma during his stay (Prado, Madrid) that demonstrates the influence of works like Titian's Charles V at Mühlberg (1548; Prado, Madrid). This journey marked the first of many during his career that combined art and diplomacy.
He returned to Italy in 1604, where he remained for the next four years, first in Mantua and then in Genoa and Rome. In Genoa, Rubens painted numerous portraits, such as the Marchesa Brigida Spinola-Doria (National Gallery of Art, Washington, D.C.), and the portrait of Maria di Antonio Serra Pallavicini, in a style that influenced later paintings by Anthony van Dyck, Joshua Reynolds and Thomas Gainsborough.[14]
Madonna on Floral Wreath, together with Jan Brueghel the Elder, 1619
He also began a book illustrating the palaces in the city, which was published in 1622 as Palazzi di Genova. From 1606 to 1608, he was mostly in Rome. During this period Rubens received, with the assistance of Cardinal Jacopo Serra (the brother of Maria Pallavicini), his most important commission to date for the High Altar of the city's most fashionable new church, Santa Maria in Vallicella also known as the Chiesa Nuova.
The subject was to be St. Gregory the Great and important local saints adoring an icon of the Virgin and Child. The first version, a single canvas (now at the Musée des Beaux-Arts, Grenoble), was immediately replaced by a second version on three slate panels that permits the actual miraculous holy image of the "Santa Maria in Vallicella" to be revealed on important feast days by a removable copper cover, also painted by the artist.[15]
Rubens' experiences in Italy continued to influence his work. He continued to write many of his letters and correspondences in Italian, signed his name as "Pietro Paolo Rubens", and spoke longingly of returning to the peninsula—a hope that never materialized.[16]
Antwerp (1609–1621)[edit]
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Rubens and Isabella Brandt, the Honeysuckle Bower, c. 1609. Alte Pinakothek
Upon hearing of his mother's illness in 1608, Rubens planned his departure from Italy for Antwerp. However, she died before he arrived home. His return coincided with a period of renewed prosperity in the city with the signing of the Treaty of Antwerp in April 1609, which initiated the Twelve Years' Truce. In September 1609 Rubens was appointed as court painter by Albert VII, Archduke of Austria, and Infanta Isabella Clara Eugenia of Spain, sovereigns of the Low Countries.
He received special permission to base his studio in Antwerp instead of at their court in Brussels, and to also work for other clients. He remained close to the Archduchess Isabella until her death in 1633, and was called upon not only as a painter but also as an ambassador and diplomat. Rubens further cemented his ties to the city when, on 3 October 1609, he married Isabella Brandt, the daughter of a leading Antwerp citizen and humanist, Jan Brandt.
Descent from the Cross, 1618. Hermitage Museum
In 1610 Rubens moved into a new house and studio that he designed. Now the Rubenshuis Museum, the Italian-influenced villa in the centre of Antwerp accommodated his workshop, where he and his apprentices made most of the paintings, and his personal art collection and library, both among the most extensive in Antwerp. During this time he built up a studio with numerous students and assistants. His most famous pupil was the young Anthony van Dyck, who soon became the leading Flemish portraitist and collaborated frequently with Rubens. He also often collaborated with the many specialists active in the city, including the animal painter Frans Snyders, who contributed the eagle to Prometheus Bound, and his good friend the flower-painter Jan Brueghel the Elder.
Another house was built by Rubens to the north of Antwerp in the polder village of Doel, "Hooghuis" (1613/1643), perhaps as an investment. The "High House" was built next to the village church.
Family of Jan Brueghel the Elder, 1613–1615. Courtauld Institute of Art
Altarpieces such as The Raising of the Cross (1610) and The Descent from the Cross (1611–1614) for the Cathedral of Our Lady were particularly important in establishing Rubens as Flanders' leading painter shortly after his return. The Raising of the Cross, for example, demonstrates the artist's synthesis of Tintoretto's Crucifixion for the Scuola Grande di San Rocco in Venice, Michelangelo's dynamic figures, and Rubens' own personal style. This painting has been held as a prime example of Baroque religious art.[17]
Rubens used the production of prints and book title-pages, especially for his friend Balthasar Moretus, the owner of the large Plantin-Moretus publishing house, to extend his fame throughout Europe during this part of his career. With the exception of a couple of brilliant etchings, he only produced drawings for these himself, leaving the printmaking to specialists, such as Lucas Vorsterman, Paulus Pontius and Willem Panneels.[18] He recruited a number of engravers trained by Christoffel Jegher, who he carefully schooled in the more vigorous style he wanted.
He also designed the last significant woodcuts before the 19th century revival in the technique. Rubens established copyright for his prints, most significantly in Holland, where his work was widely copied through prints. In addition he established copyrights for his work in England, France and Spain.[19]
The Marie de' Medici Cycle and diplomatic missions (1621–1630)[edit]
Main article: Marie de' Medici cycle
Portrait of Anna of Austria, Queen of France, c.1622–1625
In 1621, the Queen Mother of France, Marie de' Medici, commissioned Rubens to paint two large allegorical cycles celebrating her life and the life of her late husband, Henry IV, for the Luxembourg Palace in Paris. The Marie de' Medici cycle (now in the Louvre) was installed in 1625, and although he began work on the second series it was never completed.[20] Marie was exiled from France in 1630 by her son, Louis XIII, and died in 1642 in the same house in Cologne where Rubens had lived as a child.[21]
After the end of the Twelve Years' Truce in 1621, the Spanish Habsburg rulers entrusted Rubens with a number of diplomatic missions.[22] While in Paris in 1622 to discuss the Marie de' Medici cycle, Rubens engaged in clandestine information gathering activities, which at the time was an important task of diplomats. He relied on his friendship with Nicolas-Claude Fabri de Peiresc to get information on political developments in France.[23] Between 1627 and 1630, Rubens' diplomatic career was particularly active, and he moved between the courts of Spain and England in an attempt to bring peace between the Spanish Netherlands and the United Provinces. He also made several trips to the northern Netherlands as both an artist and a diplomat.
The Fall of Man, 1628–29. Prado, Madrid
At the courts he sometimes encountered the attitude that courtiers should not use their hands in any art or trade, but he was also received as a gentleman by many. Rubens was raised by Philip IV of Spain to the nobility in 1624 and knighted by Charles I of England in 1630. Philip IV confirmed Rubens' status as a knight a few months later.[24] Rubens was awarded an honorary Master of Arts degree from Cambridge University in 1629.[25]
Rubens was in Madrid for eight months in 1628–1629. In addition to diplomatic negotiations, he executed several important works for Philip IV and private patrons. He also began a renewed study of Titian's paintings, copying numerous works including the Madrid Fall of Man (1628–29).[26] During this stay, he befriended the court painter Diego Velázquez and the two planned to travel to Italy together the following year. Rubens, however, returned to Antwerp and Velázquez made the journey without him.[27]
His stay in Antwerp was brief, and he soon travelled on to London where he remained until April 1630. An important work from this period is the Allegory of Peace and War (1629; National Gallery, London).[28] It illustrates the artist's lively concern for peace, and was given to Charles I as a gift.
While Rubens' international reputation with collectors and nobility abroad continued to grow during this decade, he and his workshop also continued to paint monumental paintings for local patrons in Antwerp. The Assumption of the Virgin Mary (1625–6) for the Cathedral of Antwerp is one prominent example.
Last decade (1630–1640)[edit]
Rubens's last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones's Palace of Whitehall, but he also explored more personal artistic directions.
In 1630, four years after the death of his first wife Isabella, the 53-year-old painter married his first wife's niece, the 16-year-old Hélène Fourment. Hélène inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus (Kunsthistorisches Museum, Vienna), The Three Graces and The Judgment of Paris (both Prado, Madrid). In the latter painting, which was made for the Spanish court, the artist's young wife was recognized by viewers in the figure of Venus. In an intimate portrait of her, Hélène Fourment in a Fur Wrap, also known as Het Pelsken, Rubens' wife is even partially modelled after classical sculptures of the Venus Pudica, such as the Medici Venus.
In 1635, Rubens bought an estate outside Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Château de Steen with Hunter (National Gallery, London) and Farmers Returning from the Fields (Pitti Gallery, Florence), reflect the more personal nature of many of his later works. He also drew upon the Netherlandish traditions of Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis (c. 1630; Louvre, Paris).
Death[edit]
Rubens died from heart failure, a result of his chronic gout, on 30 May 1640. He was interred in Saint James' Church, Antwerp. His epitaph read:[29]
D.O.M./PETRVS PAVLVS RVBENIVS eques/IOANNIS, huius urbis senatoris/flfius steini Toparcha:/qui inter cæteras quibus ad miraculum/excelluit doctrinæ historiæ priscæ/omniumq. bonarum artiu. et elegantiaru. dotes/ non sui tantum sæculi,/ sed et omnes ævi/ Appeles dicit meruit:/atque ad Regum Principumq. Virorum amicitias/gradum sibi fecit:/a. PHILIPPO IV. Hispaniarum Indiarumq. Rege / inter Sanctioris Concilli scribas Adscitus,/ et ad CAROLVM Magmnæ Brittaniæ Regem/Anno M.DC.XXIX. delegatus,/pacis inter eosdem principes mox initæ/fundamenta filiciter posuit./ Obiit anno sal. M.DC.XL.XXX. May ætatis LXIV.
Hoc momumenteum a Clarissimo GEVARTIO/olim PETRO PAVLO RVBENIO consecratum/ a Posteris huc usque neglectum,/ Rubeniana stirpe Masculina jam inde extincta/ hoc anno M.DCC.LV. Poni Curavit./ R.D. JOANNES BAPT. JACOBVS DE PARYS. Hujus insignis Eccelsiæ Canonicus/ ex matre et avia Rubenia nepos./ R.I.P.//
Descendants[edit]
Main article: Rubens family
The artist had eight children, three with Isabella and five with Hélène; his youngest child was born eight months after his death. Many of his descendants married into important noble families of Antwerp.
Descendants by Isabella Brant:
Albert Rubens (1614-1657), married Clara del Monte
Nicolaas Rubens, Lord of Rameyen (1618-1655), married Constancia Helman
Albert Marie Nicolaas Peter Rubens (1642-1672), married Maria Catharina Vecquemans
Peter Paul II Rubens (1642-1672)
Philippe Nicolaas (1643-1693)
Hélène Françoise Baptiste (1641-1710), married John Lunden.
Maria Constantia Rubens (1649-), married Lambert Frederik of Bronckhorst, Lord of Berlaer.
Art[edit]
Painting from Peter Paul Rubens workshop, 1620s
His nudes of various biblical and mythological women are especially well-known. Painted in the Baroque tradition of depicting women as soft-bodied, passive, and highly sexualized beings, his nudes emphasize the concepts of fertility, desire, physical beauty, temptation, and virtue. Skillfully rendered, these paintings of nude women were undoubtedly created to appeal to his largely male audience of patrons.[30] Additionally, Rubens was quite fond of painting full-figured women, giving rise to terms like 'Rubensian' or 'Rubenesque' (sometimes 'Rubensesque'). And while the male gaze features heavily in Rubens's paintings of females generally, he brings multi-layered allegory and symbolism to his portraits.[31] His large-scale cycle representing Marie de Medicis focuses on several classic female archetypes like the virgin, consort, wife, widow, and diplomatic regent.[32] The inclusion of this iconography in his female portraits, along with his art depicting noblewomen of the day, serve to elevate his female portrait sitters to the status and importance of his male portrait sitters.[32]
Rubens's depiction of males is equally stylized, replete with meaning, and quite the opposite of his female subjects. His male nudes represent highly athletic and large mythical or biblical men. Unlike his female nudes, most of his male nudes are depicted partially nude, with sashes, armour, or shadows shielding them from being completely unclothed. These men are twisting, reaching, bending, and grasping: all of which portrays his male subjects engaged in a great deal of physical, sometimes aggressive, action. The concepts Rubens artistically represents illustrate the male as powerful, capable, forceful and compelling. The allegorical and symbolic subjects he painted reference the classic masculine tropes of athleticism, high achievement, valour in war, and civil authority.[31] Male archetypes readily found in Rubens's paintings include the hero, husband, father, civic leader, king, and the battle weary.
Rubens was a great admirer of Leonardo da Vinci's work. Using an engraving done 50 years after Leonardo started his project on the Battle of Anghiari, Rubens did a masterly drawing of the Battle which is now in the Louvre in Paris. "The idea that an ancient copy of a lost artwork can be as important as the original is familiar to scholars," says Salvatore Settis, archaeologist and art historian.
Peter Paul Rubens works at the Royal Museums of Fine Arts, Brussels, Belgium
Peter Paul Rubens work at the Louvre
Peter Paul Rubens works at the Victor Balaguer Museum
Workshop[edit]
Paintings from Rubens' workshop can be divided into three categories: those he painted by himself, those he painted in part (mainly hands and faces), and those he only supervised as other painters produced them from his drawings or oil sketches. He had, as was usual at the time, a large workshop with many apprentices and students, some of whom, such as Anthony van Dyck, became famous in their own right. He also often sub-contracted elements such as animals or still-life in large compositions to specialists such as Frans Snyders, or other artists such as Jacob Jordaens.
Selected works[edit]
Early works
Portrait of a Young Woman with a Rosary, Thyssen-Bornemisza Museum, Madrid c. 1609
Venus at the Mirror, 1615
Infanta Isabella Clara Eugenia (1566–1633), 1615. Kunsthistorisches Museum, Vienna.
Virgin in Adoration before the Christ Child, c. 1615
Diana Returning from Hunt, 1615 Gemäldegalerie Alte Meister
Tiger Hunt, 1617–1618
Hippopotamus Hunt (1616). Rubens is known for the frenetic energy and lusty ebullience of his paintings.
The Rape of the Daughters of Leucippus, c. 1617
Historical portraits
Portrait of Marchesa Brigida Spinola-Doria, 1606
Portrait of King Philip IV of Spain, c. 1628/1629
Portrait of Elisabeth of France. 1628, Kunsthistorisches Museum. Vienna
Portrait of Ambrogio Spinola, c. 1627 National Gallery in Prague
Landscapes
The Château Het Steen with Hunter, c. 1635–8 (National Gallery, London)
Miracle of Saint Hubert, painted together with Jan Bruegel, 1617
Landscape with the Ruins of Mount Palatine in Rome, 1615
Landscape with Milkmaids and Cattle, 1618
Mythological
Nymphs filling the horn of plenty, 1615, together with Jan Brueghel the Elder
The Birth of the Milky Way, 1636–1637, Madrid, Museo del Prado
Venus and Adonis
Jupiter and Callisto, 1613, Museumslandschaft of Hesse in Kassel
Marie de' Medici cycle (1622–1625)
Series on Maria de' Medici; The Flight from Blois
Maria de' Medici's arrival in Marseille
The Education of the Princess, from the Marie de' Medici cycle
The Negotiations at Angoulême
Religious paintings
The Virgin of the Immaculate Conception, 1626–1628. Madrid, Museo del Prado.
The Holy Family 1630, Prado
The feast of Herodes
Samson and Delilah, 1609–1610. Created for his friend Nicolaas II Rockox
King Solomon, 1617
The Fall of the Damned, ca. 1620

Nude
Fortuna, 1638
Susanna and the Elders, 1608
The Triumph of the Virtue 1608
Hygeia, 1615. Prague, Lobkowicz Palace.
Ermit and sleeping Angelica, 1628
Cimone and Efigenia, 1615
Venus, Cupid, Baccchus and Ceres, 1612
Amor and Venus 1614
The Three Graces, 1635, Prado
Helena Fourment and related pictures
Rubens with Hélène Fourment and their son Peter Paul, 1639, now in the Metropolitan Museum of Art
Helena Fourment in wedding dress, detalj, the artist's second wife.ca. 1630, now in the Alte Pinakothek
Helena Fourment with a Carriage, 1639 Louvre.
Helene Fourment with Rubens and their child, c. 1630
Venus and Cupid, 1640
Bathsheba at the Fountain, 1635
Venus, Mars and Cupid
Pastoral Scene, 1636
Portrait of Hélène Fourment (Het Pelsken), c. 1638 Kunsthistorisches Museum, Vienna
Drawings
Lion, c.1614-1615. Black and yellow chalk, grey wash, heightened with white
Peter Paul Rubens' son, Nicolaas Rubens, Lord of Rameyen, 1621
Isabella Brandt, (first wife of Peter Paul Rubens), 1621
Peter Paul Rubens (Possible self-portrait), c.1620s
Young Woman with Folded Hands, circa 1629–1630
Lost works[edit]
The Judgement of Paris, c.1606
Jan Brueghel the Elder and Peter Paul Rubens, The garden of Eden with the fall of man, Mauritshuis, The Hague
Sketch for Equestrian Portrait of George Villiers, 1st Duke of Buckingham (Kimbell Art Museum)
Equestrian Portrait of George Villiers, 1st Duke of Buckingham (Rubenshuis)
Missing works by Rubens are:
The painting The Crucifixion, painted for the Church of Santa Croce in Gerusalemme, Rome, was imported to England in 1811. It was auctioned in 1812 and again in 1820 and 1821 but was lost at sea sometime after 1821.[33]
Equestrian Portrait of the Archduke Albert,
Susannah and the Elders now known only from engraving from 1620 by Lucas Vostermanand;
Satyr, Nymph, Putti and Leopards now known only from engraving and
Judith Beheading Holofernes c. 1609 known only though the 1610 engraving by Cornelis Galle the Elder.
Works destroyed in the bombardment of Brussels are the Madonna of the Rosary painted for the Royal Chapel of the Dominican Church, Brussels, Virgin Adorned with Flowers by Saint Anne, 1610 painted for the Church of the Carmelite Friars, Saint Job Triptych, 1613, painted for Saint Nicholas Church, Brussels, Cambyses Appointing Otanes Judge Judgment of Solomon the Last Judgment that were decorations for the Magistrates' Hall, Brussels.
In the Coudenberg Palace fire there were several works by Rubens destroyed, like Nativity (1731), Adoration of the Magi and Pentecost.[34]
The paintings Neptune and Amphitrite, Vision of Saint Hubert and Diana and Nymphs Surprised by Satyrs was destroyed in the Friedrichshain flak tower fire in 1945.[35]
The painting The Abduction of Proserpine was destroyed in the fire at Blenheim Palace, Oxfordshire, 5 February 1861.[36]
The painting Crucifixion with Mary, St. John, Magdalen, 1643 was destroyed in the English Civil War: English Parliamentarians in the Queen's Chapel, Somerset House, London, 1643[37]
The painting Equestrian Portrait of Philip IV of Spain was destroyed in the fire at Royal Alcázar of Madrid fire in 1734. A copy is in the Uffizi Gallery.
The Continence of Scipio was destroyed in a Fire in the Western Exchange, Old Bond Street, London, March 1836[38]
The painting The Lion Hunt was removed by Napoleon's agents from Schloss Schleissheim, near Munich, 1800 and was destroyed later in a fire at the Musée des Beaux-Arts de Bordeaux[39]
An alleged Rubens painting Portrait of a Girl reported to have been in the collection of Alexander Dumas; reported lost in a fire.[40]
The painting Equestrian Portrait of the Duke of Buckingham (1625) and the ceiling painting The Duke of Buckingham Triumphing over Envy and Anger (circa 1625), both later owned by the Earl of Jersey at Osterley Park, were destroyed in a fire at the Le Gallais depository in St Helier, Jersey, on 30 September 1949[41]
Portrait of Philip IV of Spain from 1628 was destroyed in the Incendiary attack at the Kunsthaus Zürich in 1985.[42]
The "lost portrait of George Villiers", a c. 1625 painting by Rubens that had been lost for nearly 400 years, was rediscovered in 2017 in Pollok House, Glasgow, Scotland.[43]
Art market[edit]
At a Sotheby's auction on 10 July 2002, Rubens's painting Massacre of the Innocents, rediscovered not long before, sold for £49.5 million (US$76.2 million) to Lord Thomson. At the end of 2013 this remained the record auction price for an Old Master painting. At a Christie's auction in 2012, Portrait of a Commander sold for £9.1 million (US$13.5 million) despite a dispute over the authenticity so that Sotheby's refused to auction it as a Rubens.[44]
Selected exhibitions[edit]
1936 Rubens and His Times, Paris.
1997 The Century of Rubens in French Collections, Paris.
2004 Rubens, Palais de Beaux-Arts, Lille.
2005 Peter Paul Rubens: The Drawings, Metropolitan Museum of Art, New York.
2015 Rubens and His Legacy, The Royal Academy, London.
In popular culture[edit]
In Ouida's novel A Dog of Flanders the main characters Nello and Patrasche wish to see both Rubens' "The Elevation of the Cross" and "The Descent from the Cross" for once in their life. It serves as the climax of the story, as they both sneak inside the Antwerp Cathedral on a freezing Christmas Eve to witness the beauty of the painting. The next day they are found frozen to death in front of the triptych.[45]
See also[edit]
Poussinists and Rubenists
Antwerp school
Rubenesque
Anthony van Dyck
Dutch Golden Age painting
Rembrandt
Notes[edit]
Jump up ^ "Rubens". Random House Webster's Unabridged Dictionary.
Jump up ^ Nico Van Hout, 1979
Jump up ^ Historische levensbeschryving van P.P. Rubens Door Jean Francois Marie Michel. p.14
Jump up ^ H. C. Erik Midelfort, "Mad Princes of Renaissance Germany", page 58, University of Virginia Press, 22 January 1996. Retrieved 2 February 2013.
Jump up ^ Belkin (1998): 11–18.
Jump up ^ Held (1983): 14–35.
Jump up ^ Belkin (1998): 22–38.
Jump up ^ Belkin (1998): 42; 57.
Jump up ^ Belkin (1998): 52–57
Jump up ^ Belkin (1998): 59.
Jump up ^ Sirjacobs, Raymond. Antwerpen Sint-Pauluskerk: Rubens En De Mysteries Van De Rozenkrans = Rubens Et Les Mystères Du Rosaire = Rubens and the Mysteries of the Rosary, Antwerpen: Sint-Paulusvrienden, 2004
Jump up ^ Rosen, Mark (2008). "The Medici Grand Duchy and Rubens' First Trip to Spain". Oud Holland (Vol. 121, No. 2/3): 147–152.
Jump up ^ Belkin (1998): 71–73
Jump up ^ Belkin (1998): 75.
Jump up ^ Jaffé (1977): 85–99; Belting (1994): 484–90, 554–56.
Jump up ^ Belkin (1998): 95.
Jump up ^ Martin (1977): 109.
Jump up ^ Pauw-De Veen (1977): 243–251.
Jump up ^ A Hyatt Mayor, Prints and People, Metropolitan Museum of Art/Princeton, 1971, no.427–32, ISBN 0-691-00326-2
Jump up ^ Belkin (1998): 175; 192; Held (1975): 218–233, esp. pp. 222–225.
Jump up ^ Belkin (1998): 173–175.
Jump up ^ Belkin (1998): 199–228.
Jump up ^ Auwers: p. 25.
Jump up ^ Auwers: p. 32.
Jump up ^ Belkin (1998): 339–340
Jump up ^ Belkin (1998): 210–218.
Jump up ^ Belkin (1998): 217–218.
Jump up ^ "Minerva protects Pax from Mars ('Peace and War')". The National Gallery. Retrieved 15 October 2010.
Jump up ^ Antwerpen - Parochiekerken ; 1. Afdeeling, Volume 1
Jump up ^ "Review on JSTOR". JSTOR 431556. Missing or empty |url= (help)
^ Jump up to: a b "Gender in Art – Dictionary definition of Gender in Art | Encyclopedia.com: FREE online dictionary". www.encyclopedia.com. Retrieved 2016-03-05.
^ Jump up to: a b "Rubens's France: Gender and Personification in the Marie de Médicis Cycle on JSTOR". JSTOR 3177384. Missing or empty |url= (help)
Jump up ^ Smith, John (1830), A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters: Peter Paul Rubens, Smith
Jump up ^ Joost vander Auwera (2007), Rubens, l'atelier du génie, Lannoo Uitgeverij, p. 14, ISBN 978-90-209-7242-9
Jump up ^ John Smith, A catalogue raisonne of the works of the most eminent (...)(1830), p. 153. Retrieved 8 June 2014.
Jump up ^ The Annual Register, Or, A View of the History, Politics, and Literature for the Year ..., J. Dodsley, 1862, p. 18
Jump up ^ Albert J. Loomie, "A Lost Crucifixion by Rubens," The Burlington Magazine Vol. 138, No. 1124 (Nov. 1996). Retrieved 8 June 2014.
Jump up ^ W. Pickering, The Gentleman's Magazine vol. 5 (1836), p.590. Retrieved 7 June 2014.
Jump up ^ Barnes, An examination of Hunting Scenes by Peter Paul Rubens (2009), p.34. Retrieved 7 June 2014.
Jump up ^ "San Francisco Call 26 January 1908 — California Digital Newspaper Collection". ucr.edu.
Jump up ^ Sutton, Peter C. (2004), Drawn by the Brush: Oil Sketches by Peter Paul Rubens, Yale University Press, p. 144, ISBN 978-0-300-10626-8
Jump up ^ Goss, Steven (2001), "A Partial Guide to the Tools of Art Vandalism", Cabinet Magazine (3)
Jump up ^ Slawson, Nicola (24 September 2017). "Lost Rubens portrait of James I's 'lover' is rediscovered in Glasgow". The Guardian. Retrieved 26 September 2017.
Jump up ^ Art historians cast doubt over Earl Spencer's £9m Rubens, The Independent, 11 July 2010
Jump up ^ "ARGOS centre for art and media". argosarts.org.
Sources[edit]
Auwers, Michael, Pieter Paul Rubens als diplomatiek debutant. Het verhaal van een ambitieus politiek agent in de vroege zeventiende eeuw, in: Tijdschrift voor Geschiedenis – 123e jaargang, nummer 1, p. 20–33 (in Dutch)
Belkin, Kristin Lohse (1998). Rubens. Phaidon Press. ISBN 0-7148-3412-2.
Belting, Hans (1994). Likeness and Presence: A History of the Image before the Era of Art. University of Chicago Press. ISBN 0-226-04215-4.
Held, Julius S. (1975) "On the Date and Function of Some Allegorical Sketches by Rubens." In: Journal of the Warburg and Courtauld Institutes. Vol. 38: 218–233.
Held, Julius S. (1983) "Thoughts on Rubens' Beginnings." In: Ringling Museum of Art Journal: 14–35. ISBN 0-916758-12-5.
Jaffé, Michael (1977). Rubens and Italy. Cornell University Press. ISBN 0-8014-1064-9.
Martin, John Rupert (1977). Baroque. HarperCollins. ISBN 0-06-430077-3.
Mayor, A. Hyatt (1971). Prints and People. Metropolitan Museum of Art/Princeton. ISBN 0-691-00326-2.
Pauw-De Veen, Lydia de. "Rubens and the graphic arts." In: Connoisseur CXCV/786 (Aug 1977): 243–251.
Further reading[edit]
Alpers, Svetlana. The Making of Rubens. New Haven 1995.
Heinen, Ulrich, "Rubens zwischen Predigt und Kunst." Weimar 1996.
Baumstark, Reinhold (1985). Peter Paul Rubens: the Decius Mus cycle. New York: The Metropolitan Museum of Art. ISBN 0-87099-394-1.
Büttner, Nils, Herr P. P. Rubens. Göttingen 2006.
Corpus Rubenianum Ludwig Burchard. An Illustrated Catalogue Raisonne of the Work of Peter Paul Rubens Based on the Material Assembled by the Late Dr. Ludwig Burchard in Twenty-Seven Parts, Edited by the Nationaal Centrum Voor de Plastische Kunsten Van de XVI en de XVII Eeuw.
Lamster, Mark. Master of Shadows, The Secret Diplomatic Career of Peter Paul Rubens New York, Doubleday, 2009.
Lilar, Suzanne, Le Couple (1963), Paris, Grasset; Reedited 1970, Bernard Grasset Coll. Diamant, 1972, Livre de Poche; 1982, Brussels, Les Éperonniers, ISBN 2-87132-193-0; Translated as Aspects of Love in Western Society in 1965, by and with a foreword by Jonathan Griffin, New York, McGraw-Hill, LC 65-19851.
Sauerlander, Willibald. The Catholic Rubens: Saints and Martyrs (Getty Research Institute; 2014); 311 pages; looks at his altarpieces in the context of the Counter-Reformation.
Schrader, Stephanie, Looking East: Ruben's Encounter with Asia, Getty Publications, Los Angeles, 2013. ISBN 978-1-60606-131-2
Vlieghe, Hans, Flemish Art and Architecture 1585–1700, Yale University Press, Pelican History of Art, New Haven and London, 1998. ISBN 0-300-07038-1
External links[edit]
Wikimedia Commons has media related to Peter Paul Rubens.
Wikiquote has quotations related to: Peter Paul Rubens
Peter Paul Rubens at Encyclopædia Britannica
Rubenshuis in Antwerp, (Belgium) is the former house of Rubens, now converted into a museum
Corpus Rubenianum Ludwig Burchard Online
Rubens' palette and painting materials, with bibliography
The Guardian: Rubens
290 of images by the artist, and more
The Correspondence of Peter Paul Rubens in EMLO
Peter Paul Rubens on BALaT - Belgian Art Links and Tools (KIK-IRPA, Brussels)
[show]
v
t
e
Peter Paul Rubens
Works (paintings
and drawings)
Leda and the Swan (1601, 1602)
The Deposition (1602)
Equestrian Portrait of the Duke of Lerma (1603)
Portrait of a Young Woman (1603)
Hercules and Omphale (1603)
Heraclitus and Democritus (1603)
Virgin and Child (c. 1604)
The Fall of Phaeton (c. 1604/1605)
The Circumcision (1605)
Portrait of Marchesa Brigida Spinola-Doria (1606)
Portrait of a Noblewoman with a Dwarf (1606)
Portrait of Giovanni Carlo Doria on Horseback (1606)
Madonna della Vallicella (1606–1608)
Susanna and the Elders (1607)
Adoration of the Magi (Prado) (1609; 1628–29)
Samson and Delilah (1609-1610)
Honeysuckle Bower (1609-1610)
Raising of the Cross (1610-1611)
Conversion of Saint Paul (1610-1612)
Massacre of the Innocents (c. 1611)
Prometheus Bound (1611-1612)
The Four Philosophers (1611-1612)
Antwerp Resurrection (1611-1612)
Descent from the Cross (1612–1614)
Saint Teresa of Ávila's Vision of the Holy Spirit (1612-1614)
The Defeat of Sennacherib (1612-1614)
The Four Continents (1610s)
Christ Giving the Keys to St. Peter (1612–1614)
Portrait of a Commander (1613)
The Crowning of the Virtuous Hero (1613-1614)
The Incredulity of Saint Thomas (1613-1615)
The Death of Adonis (1614)
St Sebastian (c. 1614)
Madonna della Cesta (1615)
Ixion, King of the Lapiths, Deceived by Juno, Who He Wished to Seduce (1615)
Daniel in the Lions' Den (1615)
The Hippopotamus and Crocodile Hunt (1615-1616)
The Tiger Hunt (1615-1616)
Theodosius and Saint Ambrose (1615–1616)
Florence Resurrection (1616)
The Virgin and Child Surrounded by the Holy Innocents (1616)
Erichthonius Discovered by the Daughters of Cecrops (c. 1616)
The Wolf and Fox Hunt (c. 1616)
The Lion and Leopard Hunt (c. 1616)
Romulus and Remus (1615-1616)
Adoration of the Magi (Cambridge) (1616-1617)
Adoration of the Magi (Lyon) (1617-1618)
Descent from the Cross (1616-1617)
The Meeting Between Abraham and Melchizedek (1616-1617)
Christ and the Penitent Sinners (1617)
Mars and Rhea Silvia (1617)
The Garden of Eden with the Fall of Man (1617)
The Great Last Judgement (1617)
A Bearded Man (c. 1617-18)
The Five Senses (1617-18)
Two Satyrs (1618)
Medusa (1618)
The Rape of the Daughters of Leucippus (c. 1618)
The Union of Earth and Water (c. 1618)
Tigress with Her Cubs (1618)
Feast in the House of Simon the Pharisee (1618-20)
St Mary Magdalene in Ecstasy (1619-20)
The Small Last Judgement (1619)
Conversion of Saint Paul (1620s)
The Fall of the Damned (ca. 1620)
Landscape with Philemon and Baucis (ca. 1620)
Saint George and the Dragon (c. 1620)
Perseus Freeing Andromeda (1620)
The Rape of Orithyia by Boreas (1620)
Christ on the Cross (1620)
The Three Graces (1620-1623)
Isabella Brant (c. 1621)
The Lion Hunt (1621)
Marie de' Medici cycle (1621–1630)
Portrait of Susanna Lunden (1622)
Perseus and Andromeda (c. 1622)
The History of Constantine (1622-1625)
The Conversion of Saint Bavo (1623-1624)
Diana and Her Nymphs Leaving for the Hunt (1623-1624)
Adoration of the Magi (Antwerp) (1624)
The Reconciliation of Esau and Jacob (1624)
Christ Appointing Saint Roch as Patron Saint of Plague Victims (1623-1626)
Portrait of Infante Isabella Clara Eugenia (1625)
The Triumph of the Church (1635)
Assumption of the Virgin Mary (1625-1626)
Angelica and the Hermit (c. 1626-1628)
Henry IV at the Battle of Ivry (1627)
The Triumphal Entry of Henry IV into Paris (1627)
The Annunciation (1627-1628)
The Fall of Man (1628–1629)
The Rape of Europa (1628-1629)
Minerva Protecting Peace from Mars (1629-1630)
The Ildefonso Altarpiece (1630-1631)
Odysseus on the Island of the Phaecians (1630-1635)
The Finding of Erichthonius (1632-1634)
The Garden of Love (c. 1633)
The Rape of the Sabine Women (1634-1636)
The Feast of Venus (c. 1635)
The Dance of the Villagers (1635)
Helena Fourment with Her Son Frans (1635)
The Village Fête (1635-1638)
Hercules' Dog Discovers Purple Dye (c. 1636)
Helena Fourment with Children (1636)
A View of Het Steen in the Early Morning (1636)
Saturn (1636)
The Rainbow Landscape (1636)
Het Pelsken (1636-1638)
The Origin of the Milky Way (c. 1637)
Consequences of War (c. 1638)
Hercules in the Garden of the Hesperides / Deianira Listens to Fame (1638)
The Three Graces (1636-1638)
The Rape of Ganymede (1636-1638)
Diana and Callisto (1637-1638)
Helena Fourment with a Carriage (1638)
Self-Portrait (1638–1639)
The Peasants Returning From The Fields (1640)
Judgment of Paris (various)
Books
Palazzi di Genova (1622)
Related people
Rubens family
Jan Rubens (father)
Maria Pypelinckx (mother)
Isabella Brant (first wife)
Helena Fourment (second wife)
Nicolaas Rubens, Lord of Rameyen (son)
Albert I Rubens (son)
Philip I Rubens (brother)
Tobias Verhaecht (teacher)
Adam van Noort (teacher)
Otto van Veen (teacher)
Nicolaas II Rockox (friend)
Related
Rubenshuis (family home)
Poussinists and Rubenists
Rubens (1977 film)
Rubenesque
Authority control
WorldCat Identities
VIAF: 56647196
LCCN: n79055561
ISNI: 0000 0001 2134 1267
GND: 11860354X
SELIBR: 207785
SUDOC: 02998551X
BNF: cb12149490h (data)
BPN: 90019664
ULAN: 500002921
NLA: 36442606
NDL: 00454890
NKC: jn20000720259
ICCU: IT\ICCU\CFIV\068668
BNE: XX978783
KulturNav: 56130060-4f7d-45cb-b5f9-1dd41a8951bd
RKD: 68737
IATH: w6h41tm7
Retrieved from "https://en.wikipedia.org/w/index.php?title=Peter_Paul_Rubens&oldid=808074620"
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1640 deaths
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