Peter Paul Rubens is an Antwerp painter and draftsman. He is the most important and most celebrated 17th-century artist in Northern Europe. His influence is especially large. Rubens is the epitome of the pictor doctus, or learned artist. He receives a Humanistic education, possesses an extensive knowledge of languages, knows the Classical literature and models himself on the Neo-Stoic tenets of Justus Lipsius (1532-1599). Rubens collects antiquities and paintings. The artist works his intellectual acumen into his works.

Rubens is a true court painter and because of his intellectual qualities, he is asked to undertake diplomatic journeys. He is exceptionally successful as an artist and for the numerous commissions he can rely upon a studio with outstanding collaborators. Well-known artists such as Anthony van Dyck (1599-1641) pass through there. Rubens takes on anything and completes monumental altarpieces, large mythological cycles, portraits, dramatic animal pieces, landscapes, architecture plans, graphic arts and tapestry designs.

A defining moment in his career is his stay in Italy, from 1600 to 1608. Primarily the work out of the Veneto, in particular the work of Titian (ca. 1485/90-1576) and Tintoretto (1519-1594), leave an indelible mark. This is expressed in the dramatic composition, and the usage of colour, light and space. Moreover, he bases himself on the chiaroscuro of Caravaggio (1571-1610) among others, on the monumental figures of Michelangelo (1475-1564) and the work of Raphaël.

Around 1608-1612, Rubens is strongly influenced by the Caravaggio movement and the athletic figures of Michelangelo. Between 1612 and 1620, he evolves towards a more Classicist style: harmonious structure, sculptural figures and saturated colours. The example is Descent from the Cross in the Antwerp Cathedral of Our Lady.

From 1620, the so-called High Baroque (maniera grande) makes its entrance into the works of Rubens. It deals with an elevated expression, larger dramatic elements and pieces of monumental size. The triumphalist propaganda of the Counter Reformation is echoed in Rubens' work. A typical example is The Fall of the Damned (Alte Pinakothek, Munich).

Around 1630, Rubens leans stylistically close to Titan's ultima maniera, or final style development. In this manner, Rubens strives to allow painting parts to blend together. Around 1612 he exchanges the thicker applied paint for a lighter manner of painting: softer palette, looser brush strokes. Rubens is known for his passionate and quick method of painting.

Towards the end of his life, Rubens' style becomes more lyrical. In this period, the Master concentrates on landscapes, inter alia. Works with mythological stories remain popular. In this view, the cycle on the Metamorphoses of Ovid as a decorative programme of the hunting lodge Torre de la Parada of Philip IV must be mentioned.

(text: Matthias Depoorter)