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
Begegnung Abrahams mit Melchisedek

ID: 92169

Peter Paul Rubens Begegnung Abrahams mit Melchisedek
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Peter Paul Rubens Begegnung Abrahams mit Melchisedek


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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 :. | Immaculate Conception | The man lift arm | Venus Mars and Cupid | The fight for the standard | Henry Iv Receiving The Portrait of Maria de'Medici (mk27) |
Related Artists:
George Hayward
1840-1870
Wynford Dewhurst
British, 1864-1941 Wynford Dewhurst was born in Manchester in 1864. He was educated at home by a private tutor and later at Mintholme College. Although he originally trained to enter the legal profession, he showed artistic flair and decided to pursue a career as a painter after some of his drawings were published in various journals. He gained his artistic training in France at the Ecole des Beaux-Arts, in Paris, where he was a pupil of the renowned French painter Jean-L??on Gerome. Despite his teacher Gerome rejection of the radical Impressionist movement in favour of a highly finished academic style (Gerome continued the development and conservation of French Neoclassicism), Dewhurst was heavily influenced by the Impressionists. It is well known that he first encountered Impressionism, to which he was instantly attracted, in the work of Emile Claus in the Maddocks Collection in Bradford. However his most important mentor would become Claude Monet. It was Monet to whom Dewhurst dedicated his pioneering account of French Impressionism, Impressionist Painting: its genesis and development, in 1904. This was the first important study of the French painters to be published in English. As well as helping to reintroduce British artists to this style of painting, Dewhurst book called attention to the French Impressionists debt to the British artists John Constable and J. M. W. Turner, claiming that the Impressionists simply developed their existing painterly techniques. According to Dewhurst, artists who, like himself, painted in an impressionist manner, were often sneered at for imitating a foreign style, and he was keen to justify their position. French artists simply developed a style which was British in its conception, he wrote, a view that was dismissed by some French painters - such as Pissarro - who revealed his national bias when he acknowledged Constable and Turner but identified instead French influences like Nicolas Poussin, Claude Lorrain, Jean-Baptiste-Sim??on Chardin and Jean-Baptiste-Camille Corot. The thesis that Dewhurst put forward in Impressionist Painting was controversial for it dealt with the debated question of whether Impressionism was French or British in origin. However, it found much support in Britain: Kevin McConkey informs us that Dewhurst theme was taken up by others as various as Clausen, John Rothenstein and Kenneth Clark Nevertheless, Dewhurst detailed biographical notices of the most prominent artists associated with the rise of impressionism in France...leave little to be desired from the historical point of view. It is worth noting that Impressionist Painting also included an entire chapter on female artists, since modernity is the note of Impressionism, and that movement was the very first artistic revolt in which women took part. Indeed, Dewhurst thanks the celebrated female painter Mary Cassatt (who worked within the Impressionist circle) for her assistance in the preface of his book.
Reinhold Begas
1831-1911 Berlin,was a German sculptor. Begas was born in Berlin to the painter Karl Begas. He received his early education (1846-1851) studying under Christian Daniel Rauch and Ludwig Wilhelm Wichmann. During a period of study in Italy, from 1856 to 1858, he was influenced by Arnold Bocklin and Franz Lenbach in the direction of a naturalistic style in sculpture. This tendency was marked in the group Borussia, executed for the facade of the exchange in Berlin, which first brought him into general notice. In 1861 Begas was appointed professor at the art school at Weimar, but retained the appointment only a few months. That he was chosen, after competition, to execute the statue of Schiller for the Gendarmenmarkt in Berlin, was a high tribute to the fame he had already acquired; and the result, one of the finest statues in the German metropolis, entirely justified his selection. Since the year 1870, Begas dominated the plastic art in the Kingdom of Prussia, but especially in Berlin. Among his chief works during this period are the colossal statue of Borussia for the Hall of Glory; the Neptune fountain in bronze on the Schlossplatz; the statue of Alexander von Humboldt, all in Berlin; the sarcophagus of Emperor Frederick III in the mausoleum of the Church of Peace at Potsdam






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