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Peter Paul Rubens (1577-1640)

Fragment of a self-portrait Falfraf Richartz Museum, Cologne The outstanding Flemish painter Peter Paul Rubens (1577-1640) was a man of rare genius, who possessed all the virtues so necessary both for great achievements in art and for success in society - a powerful intellect, ebullient energy, good health, pleasant appearance, an amazing gift of harmony and, in addition, a clear head for creative and business activity.

“The Four Parts of the World” 1612-1614 Kunsthistorisches Museum, Vienna

“Duke of Lerma” 1603 Prado Museum, Madrid Rubens spoke six languages, studied with three Flemish painters, was a happy artist who knew no doubts and disappointments in his work. His contemporaries called him “the king of artists and the artist of kings.” It is enough to look at his paintings, and there will not be the slightest doubt about this.

“Nailed Prometheus” 1610-1611 Museum of Fine Arts, Philadelphia What delighted him most was the malleable, plastic beauty of the human body. Although he liked the material world around him, he was entirely filled with the deep, exalting religious faith of his time.

“Diana’s Return from the Hunt” 1615 Dresden Art Gallery, Germany

“The Union of Earth and Water” 1618 State Hermitage Whatever he painted - a blond Venus surrounded by nymphs or a pensive Mother of God with a child in her arms, an allegory of powerful figures shining with light on the clouds, a fertile landscape near a house - his work was always a hymn praising beauty our world.

“The Holy Family and Saint Anne” 1630 Prado Museum, Madrid “The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph,” one of his biographers wrote about Rubens.

"The Hunt for the Hippopotamus" 1615-1616 Alte Pinakothek, Munich

“The Rape of the Daughters of Leucippus”, 1617 Alte Pinakothek Munich Rubens, like no one else, embodied mobility, unbridled vitality and sensuality European painting Baroque era. His work is an organic fusion of the traditions of Bruegelian realism with the achievements of the Venetian school.

Rubens is not only a virtuoso master of large-scale works on mythological and religious themes, but also a subtle portrait and landscape painter. "Summer Landscape with a View of Het Stina" 1635. London National Gallery, England

“The Three Graces” 1639 Prado Museum, Madrid Vivis, vita tuo picta colore rubet. You're alive! In your colors life itself burns. J. P. Bellori.

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Presentation slides

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Introduction Biography of the painter The main motives of the work of P.P. Rubens Mythological and religious; Feminine nature in the works of Rubens; Country motives; Baroque style; 3. Landscapes 4. Portraiture by the Flemish artist Self-portraits; Family; Front doors; Conclusion

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How many artists are there who, at the height of their fame, would study and copy the works of other painters? Are there many such masters who, in adulthood, constantly improving their ability to draw and paint, humbly learn from what they consider more talented colleagues? This was the great Flemish painter of the 17th century, Peter Paul Rubens. This name ranks among the most famous artists in the world. His work was a link between two artistic cultures - the Renaissance and XVII century. It is imbued with genuine innovation, the desire to open up yet unexplored layers of realism for art. Throughout his entire creative career, he tirelessly strove to comprehend the secrets of mastery. Rubens himself was a gifted colorist and draftsman, a brilliant composer of compositions, endowed with a powerful imagination. But he also had a colossal capacity for work, constantly improving and training his eye, hand, understanding of shape and color. This incredible diligence helped him not only create many works, almost half of which were large monumental canvases, but also gain amazing freedom and virtuosity of the brush. Peter Paul Rubens was a well-educated man. He amazed with his extensive knowledge in a wide variety of sciences, was fluent in several languages, and was interested in modern literature and philosophy.

Introduction

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We decided to tell you about the work of Peter Paul Rubens, since his works are considered the most bright samples known in the 17th century Baroque style. In our work we will consider: The main stages and bright moments from the life of a great artist; Motifs and subjects that the Flemish painter uses in his works; Let's pay great attention portrait art of P. Rubens; Landscape works

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Biography of the Painter

Peter Paul Rubens was born on June 2, 1577, far from the homeland of his ancestors, in the small Westphalian town of Siegen in Germany, where his father, Antwerp lawyer Jan Rubens, fled with his family, seeking salvation from the brutal terror of the Spanish governor in the Netherlands, the Duke of Alba, who was persecuting Protestants. Peter Rubens spent his childhood first in Siegen, and then in Cologne, and only in 1587, after the death of John Rubens, his family was able to return to their homeland, Antwerp. General education Rubens graduated from the Jesuit college, after which he served as a page for the Countess de Lalen. Rubens began to indulge in painting very early. His teachers in this field were Tobias Vergagt, Adam van Noort and Otto van Ven, who worked under the influence Italian Renaissance and who, especially the latter, managed to instill in the young artist a love for everything antique. In 1598, Rubens was accepted as a free master into the Antwerp Guild of St. Luke, and in 1600, according to the long-established custom of Dutch painters, he went to complete his artistic education in Italy.

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In 1601, he was at the court of the Duke of Mantua, Vincenzo Gonzaga, with whom he remained in the service throughout his stay in Italy. On behalf of the Duke, he visited Rome and studied there Italian masters, after which, after living for some time in Mantua, he was sent on a diplomatic mission to Spain, where he carefully examined the Prado collection. His delicate dealings with the Madrid court and the notoriously temperamental Mantuan envoy made a favorable impression on Duke Vincenzo. While in Mantua, Rubens oversaw the local art gallery, stocking it with portraits of court beauties, and completed three large canvases on religious themes for the Jesuit church in Mantua. His fame soon crossed the borders of the Duchy of Mantua: the Jesuits asked him to paint a canvas on the subject of “Circumcision” for the Church of Sant’Ambrogio in Genoa. Judging by the copies made by Rubens from paintings by Titian, Tintoretto, Correggio, Leonardo da Vinci and other outstanding masters of the previous century, it can be assumed that at that time he visited all the most important artistic centers in Italy in order to study the works Italian painting Renaissance.

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In 1605, Rubens' brother, being a student of the humanist Lipsia, took the place of librarian to the Vatican Cardinal Ascanio Colonna and invited the young artist to Rome. After two years of studying classical antiquities in the company of his brother, Rubens (in the summer of 1607) was called to perform portraits of the Genoese aristocracy on the Riviera. There he made acquaintance with Jacopo Serra, a Genoese banker who provided loans to the Pope. Thanks to his help, Rubens received an enviable commission for an altar for the church of Santa Maria in Valicella in Rome. At the same time, he worked on the altar for the monastery of the Oratorian order in Fermo. The appearance of orders for work in Rome, which was then the Mecca for all European artists, allowed Rubens to break his obligations in relation to the provincial Mantuan court. (Chronic delays in paying salaries also played a role.) In October 1608, he received a letter from his brother in Antwerp that their mother was on her deathbed. He hurried north, but did not find her alive. The return to Antwerp of a young but already famous artist in Italy forced many wealthy burgers, clerical circles and governors of the Spanish Habsburgs to seek his services. Rubens found himself tied to the Brussels court by “golden shackles.” The salary allotted to him was such that he was able to open a spacious workshop, hire many apprentices and build one of the best mansions in Antwerp (closest resembling the Genoese palazzos), which over the years was filled with paintings, statues and objects of decorative and jewelry art, representing the best in art of Italy.

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Rubens did not break ties with the powerful Jesuit order. He took part in the design of the order of the Antwerp Church of St. Charles Borromean and was almost single-handedly responsible for her interior decoration; however, Anthony van Dyck, the most talented of his many students, helped him in preparing the sketches for the ceiling. The crowning achievement of his collaboration with the church was the grandiose altar paintings“Hoisting the Cross” (1610) for the Church of St. Walburgs and the Descent from the Cross (1611-14) for Antwerp City Cathedral. In October 1609, Rubens married Isabella Brant, daughter of the famous humanist Jan Brant. In the next decade, Rubens achieved fame in Europe, which, of the artists of previous eras, could only be compared with Titian. It was based both on religious paintings, for which he chose the most dramatic episodes of biblical history (“ Last Judgment"from the Alte Pinakothek and "The Crucifixion" from the Brussels Museum of Fine Arts), and on scenes from ancient mythology(in the Alte Pinakothek - “The Battle of the Amazons” and “The Abduction of the Daughters of Leucippus”). The large number of works signed by Rubens (which number in the thousands) testifies to how much help the artist received from his students, including such virtuosos as Jacob Jordaens and Frans Snyders. In the 1620s. works from Rubens' workshop flooded not only the Spanish Netherlands, but throughout Europe.

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It can be assumed that for large-sized canvases the master himself carried out only the initial sketch of the composition and applied paint to those areas that required special elaboration. He often presented clients with a miniature grisaille sketch of a future canvas and, having received their approval, entrusted its execution to apprentices. In 1621, the Flemish regent Isabella of Spain made Rubens her adviser on the issue of extending the truce with the Dutch Republic. From that time on, the Flemish painter, who was distinguished by his courtesy, was well-read, knew six languages and corresponded with many crowned heads (he was called “the king of artists and artist of kings”), became a valuable acquisition for the diplomacy of the Spanish Habsburgs. In 1622, Rubens was summoned to Paris by the Dowager Queen Maria de Medici, who had heard about his fame; he was tasked with filling two long passages in the newly built Luxembourg Palace with paintings from her life. Rubens worked in Antwerp for two years to complete this order. In 1625, in his presence, 21 paintings from the life of the queen were installed in the Luxembourg Palace (later transferred to the Louvre). He received an order for the same series from the life of her husband Henry IV, but this project remained unfulfilled. In 1628, King Philip IV invited Rubens to Madrid, where he had the opportunity to see the richest collection of works by his idol, Titian, and also copy them. In 1629, he was instructed to go to London to conduct peace negotiations with Charles I, which was carried out brilliantly.

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During his stay in the English capital, Rubens covered the ceiling of the banquet hall of Whitehall Palace, built by Inigo Jones, with allegories from the life of the monarch's father, James I. For these services, the king knighted the artist, and the University of Cambridge made him an honorary doctor. During his travels, Rubens became a widower. Upon returning to his native Antwerp in 1630, he married his friend’s 16-year-old daughter, Helen Fourman. In the last decade of her life, she became the favorite subject of his portraits. In 1653, Rubens acquired the Brabant estate of Eleveit near Mechelen. The funds for the purchase were provided by an order received from the Spanish king for 120 illustrations to the texts of classical authors, mainly Ovid. Living in the countryside brought Rubens closer not only to nature, but also to the peasants. In such things as "Kermes" (1638), he tries to surpass Bruegel in depicting the daring elements national holiday. It became more and more difficult for him to work every year due to progressive gout. In 1640 Rubens died. After restoration, a Rubens Museum was opened in his Antwerp house (in 1947).

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Rubens once wrote significant words: “Everyone has his own gift: my talent is such that no matter how enormous the work is in terms of the number and variety of subjects, it has never surpassed my strength.” These words most accurately reflect the amazing universality of the master’s work, for the genre range of his art accommodated almost the entire variety of themes and subjects that became widespread in Flemish and European painting of the 17th century. And although only a few of them did not find implementation in the work of Rubens, all of them, even those so far from the artist’s immediate interests, specifically “armchair” areas of painting, such as, for example, the depiction of flowers, turned out to be drawn into the circle of his influence, subordinate to the tasks set by him. art. And one of the central themes in which Rubens showed himself most vividly and fully was religious and mythological painting. To fully understand its significance for the artist and society, it is important to remember that Rubens lived from 1577 to 1640, a period that historians usually call the Counter-Reformation, as it was characterized by the revival of the Roman Catholic Church, which made vigorous efforts to suppress the consequences of the Protestant Reformation . It was a time of intense conflict, during which the human spirit and intellect achieved great success, but it is also known for its greed, intolerance and unparalleled cruelty... The “witch hunts”, the amazing scope of religious zeal, heavily mixed with blind fanaticism and superstition, turned the 16th and 17th centuries into a real nightmare - throughout Europe, thousands of people men and women ended their lives at the stake as punishment for allegedly committing crimes against humanity and nature.

The main motives of the works of P.P. Rubens

Mythological and religious

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The Inquisition, revived from the Middle Ages, diligently sought out enemies of the Roman Church, which inevitably led to mass crimes and torture of people suspected of heresy. Religious wars, one after another, undermined the peace established in Europe... And yet the temperament characteristic of Rubens forced him to pay attention to the bright sides human life, and not on adversity alone. Few great artists have expressed with greater insight and confidence the astonishing bounty of nature and the potential happiness within man. It is likely that the incredible popularity of his art during his lifetime was explained by the need for people to feel solid support in their depressed state. They needed an idea of the world around them that would resemble the saying from the Bible: “And God saw everything that He had created, and behold, it was very good.” Rubens realized that such fiery artistic expression was fully consistent with his creative convictions. He cooled somewhat his enthusiasm for antiquity and invested his own deeply moving piety into powerful pictorial art, drawing inspiration from pagan sources to give a new dimension to the reflection Christian themes, conveying human warmth to mythological images. Subject to the power of his imagination, this fusion of Christian and classical images delighted and inspired his contemporaries. No artist could achieve anything like this before.

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Female nature in the works of P.P. Rubens

Nowhere does one feel so clearly perky, cheerful, full healthy life the spirit of Rubens, as in paintings depicting the nude feminine nature. Erotic, as all “nude” should be, but not vulgar, solid, but not banal, his naked female figures testify to his heartfelt pleasure received from life. It is hardly a contradiction that this greatest religious artist of his time was also a great master of the female form. In his opinion, the human body, down to the last detail, is as much a creation of God as the life of any saint, and although he often placed nude female figures against the backdrop of past, pagan history, he always painted them with a frank directness, which reflected his strong religious beliefs. beliefs. From a technical point of view, it is almost impossible to find a flaw in Rubens’ depiction of the nude, although modern tastes in relation to female beauty differ significantly from the tastes and approaches of the artist. He painted lush, full-bodied models not only because they better reflected the ideals of his time, but also because a body with luxurious flesh, with its folds, bulges and curves, was much more interesting for him to draw. Rubens probably understood better than any artist in history how extraordinary, subtle nuances could be achieved with red, blue, white and brown paint for accurate reproduction of flesh color. Rubens' women were said to appear "made of milk and blood." Being a brilliant colorist, Rubens masterfully knew how to reflect the subtleties of texture and structure of the body itself. Along with his predecessor Titian and his follower Renoir, he is an unsurpassed artist of the forms of the human body.

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Rubens' two main masterpieces in this area are The Rape of the Daughters of Leucippus and The Three Graces, both of which you can see below. They are excellent illustrations of the methods of depicting nudes that Rubens used and which were subject to changes from the middle of his creative career until later in life. In the first picture there are mythological cousins Castor and Pollux kidnap the daughters of the King of Messene. The whole picture is imbued with the exciting mobility of the Baroque style. The contrasting surfaces of armor brought to a shine, the hair and skin of horses, silk fabrics and naked female flesh enliven the picture with their almost tangible texture. In the figures themselves, every dimple of flesh is accurately depicted. The contrast to this picture is the second, which depicts the calm dance of the maids of Venus. It reflects the softer, more reflective style of a mature artist. Painted a year before his death, this painting presents us with Rubens' ideal of female beauty. Its composition, a variant of a pose developed by Greco-Roman sculptors and transferred to canvas by such masters as Raphael and Botticelli, is endowed with energy and strength that Rubens usually spends on much more complex plots. Here the artist filled these three naked figures with wondrous vitality...

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In the last decade of his life, Rubens is believed to have painted several dozen outdoor landscapes, most of which have not survived. Using his free, flowing style, developed by himself, he probably only painted for his own pleasure the land that he had looked at for so long with delight and love. After his death, seventeen of his landscapes remained. True wonders of light and color, these paintings are often personal in nature, they are much more deeply felt by him than many large scenes painted before. Here he passionately, with precise, confident strokes, displays the creative energy characteristic of his early works. The color of the landscapes is distinguished by brilliance and brightness, its outlines are muted and softened. It seems that the light comes from the picture itself, from the depths. In these works, Rubens greatly anticipated what we would later see only in the Impressionists.

Country motives

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Very few artists, even great ones, deserve the honor of being called the founders of a new style in painting. Rubens is an exception. He became the creator of a vibrant and exciting style of artistic expression, later called Baroque. The unique properties of this style of writing are clearly demonstrated in his early transitional work “Saint George Slaying the Dragon.” The woman standing on the left in a frozen pose is depicted in extremely detail, which is characteristic of all Rubens’ predecessors. But the heroic figure of the knight, his rearing horse, energetic gestures and the bright colors demonstrate Rubens' new interest in assertive action, movement, and emotion.Paintings such as this one anticipated by about half a century the widespread use of the Baroque style by artists in other European countries.Rubens's bright, exuberant style is characterized by the depiction of large, heavy figures in rapid movement, excited to the utmost by an emotionally charged atmosphere. Sharp contrasts of light and shadow, warm rich colors seem to endow his paintings with ebullient energy. He painted rough biblical scenes, swift, exciting animal hunts, sonorous military battles, examples of the highest manifestation of the religious spirit, and all he did this with equal passion for transferring the highest drama of life onto canvas.

Baroque style

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One of his greatest admirers, the 19th-century French colorist Eugene Delacroix, wrote about Rubens: “His main quality, if preferred to many others, is a piercing spirit, that is, an astonishing life; without this, no artist can be great... Titian and Paolo Veronese seem terribly meek next to him.” No one depicted people and animals in brutal combat the way Rubens did. All of his predecessors carefully studied tamed animals and painted them in scenes with people. Such works usually had one goal - to demonstrate knowledge of the anatomical structure of the animal and were based mainly on biblical or mythological stories. Rubens' imagination carried him far beyond the reality of history, forcing him to create a living world in which people and animals fight each other in a spontaneous battle. His hunting scenes are characterized by enormous tension: passions run high, excited people and animals fearlessly and furiously attack each other. Rubens popularized this genre in the middle of his career as an artist. On famous painting The Hunt for the Hippo, one of four commissioned from Rubens by Duke Maximilian of Bavaria for one of his palaces, depicts a simply incredible fight between a crocodile, an angry hippopotamus, three hounds, three horses and five men. The entire composition of Rubens's painting is masterfully focused on the figure of the hippopotamus. The arch of his back leads the viewer's gaze upward. There, in the upper part of the picture, like a fan, there are long horse muzzles, the raised arms of hunters, pikes and swords, which form powerful diagonals, returning the viewer’s gaze to the center of the canvas, to the center of the fight. Thus, Rubens achieves a variety of forms in his painting, which, connecting and merging, enhance the drama playing out before the viewer’s eyes, transferring all his attention not to the life, but to the death of these animals in the very center of the picture.

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Rubens did not paint landscapes often—the demand for his work kept him mostly busy with live scenes—but he did make many sketches and studies of his favorite rural Flemish landscape. He could use some of them for the background of his large paintings (like other artists of his time, he did not carry an easel with him to paint the landscape directly in front of his eyes). During his horseback rides through the countryside, Rubens often stopped to sketch a gate, or a bridge, or a bramble bush that caught his attention, which seemed interesting to him and worthy of his attention. At the end of his life, when Rubens moved away from large orders, he again returned to the landscape theme. Over the last decade of his life, Rubens is believed to have painted several dozen outdoor landscapes, most of which have not survived. Using his free, flowing style, developed by himself, he probably only painted for his own pleasure the land that he had looked at for so long with delight and love. After his death, seventeen of his landscapes remained. True wonders of light and color, these paintings are often personal in nature, and they are much more deeply felt than many of the large scenes painted before. Here he passionately, with precise, confident strokes, displays the creative energy characteristic of his early works. The color of the landscapes is distinguished by brilliance and brightness, its outlines are muted and softened. It seems that the light comes from the picture itself, from the depths. In these works, Rubens greatly anticipated what we would later see only in the Impressionists.

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Portrait art by a Flemish artist

Of course, Rubens was a great master portrait painting, and although his works are inferior to Titian’s portraits in their psychologism and degree of comprehension of the model, Rubens is rightfully one of the most significant portrait painters in history. Rubens' portraits can be called a real pictorial reference book of "who's who" of representatives of the Western European nobility of the 17th century. During his eight years in Italy, he painted portraits of many aristocrats, including his very first patron, the Duke of Mantua. In 1609, after returning to Antwerp, Rubens became a court painter under the rulers of the Spanish Netherlands, Archduke Albert and Archduchess Infanta Isabella. We see her portrait on the right. In this position, he received the special privilege of visiting the homes of the richest and most noble nobles. He painted portraits English king, Duke of Buckingham, Countess of Shrewsbury, Spanish King Philip IV, French Kings Henry IV and Louis XIII, Polish King Ladislaus IV Vasa and Marie de Medici. During his creative travels, Rubens became involved in diplomatic activities. Infanta Isabella, aware that Rubens's art gave him free access to the most noble royal houses of Europe, made him her unofficial envoy, but a very trusted person. Drawing portraits or discussing orders for monumental works decorative ornaments walls of palaces, Rubens at the same time often conducted secret negotiations with kings and princes.

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If one word were needed to describe the life of Peter Paul Rubens, the word “energy” would be quite suitable. His art, characterized by his ebullient vital energy, his passions, is the quintessence of the grandiose Baroque style. More than 1000 paintings by the artist are a monumental achievement. But it is only one of many. Rubens was an amazingly well-read man, his interests ranged from Stoic philosophy to the study of rare gems. During his long travels, when he diligently studied and often copied works of art different eras, he met on equal terms with many famous European intellectuals. Among them are such classical scholars as Nicolas Peyresc, Caspar Sciopius and the French humanist Pierre Dupuy. They all unanimously praised his sharp mind and carried on a long, scholarly correspondence with him. But Rubens was never a pedant. He had enough talent and charm to try himself in another field - in the field of politics. For many years after he became a nationally recognized artist, Rubens, using his profession as a cover, worked hard as a diplomat, often taking part in peace negotiations for the Spanish Netherlands, his homeland. Despite his wide, varied activities, Rubens always found time for his family. He was lucky enough to marry two beautiful women(first wife pictured at right) and he was a loving and caring father to his eight children. Portraits of his wives and children can be seen on this page. “Rubens had so many talents,” noted one of his patrons, “that his ability to draw should be classified as the very last.”

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The outstanding Flemish painter Peter Paul Rubens (1577-1640) was a man of rare genius, who possessed all the virtues so necessary both for great achievements in art and for success in society - a powerful intellect, vigorous energy, good health, pleasant appearance, an amazing gift of harmony and, in addition, a clear head for creative and business activity. Rubens was a happy artist who knew no doubts or disappointments in his work. It is enough to look at his paintings, and there will not be the slightest doubt about this. Most of all, he was delighted by the malleable, plastic beauty of the human body. Although he liked the material world around him, he was entirely filled with the deep, exalting religious faith of his time. Whatever he painted - a blond Venus surrounded by nymphs or a pensive Mother of God with a child in her arms, an allegory of powerful figures shining with light on the clouds, a fertile landscape near a house - his work was always a hymn praising the beauty of our world. “The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph,” one of his biographers wrote about Rubens.

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Peter Paul Rubens is a painter who, like no one else, embodied the mobility, unbridled vitality and sensuality of European painting of the Baroque era. Rubens's work is an organic fusion of the traditions of Bruegelian realism with the achievements of the Venetian school. Although the fame of his large-scale works on mythological and religious themes thundered throughout Europe, Rubens was also a virtuoso master of portraits and landscapes.

Biography Peter Paul Rubens was born on June 2, 1577, far from the homeland of his ancestors, in the small town of Siegen in Germany, where his father, Antwerp lawyer Jan Rubens, fled with his family. The future painter spent his childhood in Cologne. Peter Paul at the age of fourteen began to study painting with Antwerp artists. Of the three teachers they were Tobias Verhahat, Adam van Noort and Otto van Veen. In 1598, Rubens was accepted as a free master into the Antwerp Guild of St. Luke, and in 1600, according to the long-established custom of Dutch painters, he went to complete his artistic education in Italy. In 1601, he was at the court of the Duke of Mantua, Vincenzo Gonzaga, with whom he remained in the service throughout his stay in Italy.

Themes and genres Rubens turned to the themes of the Old and New Testaments, to the depiction of saints, to ancient mythology and historical subjects, to allegory, everyday genre, portrait, landscape. Great painter, he was also a great master of drawing. Rubens' art, distinguished by a lively and powerful sense of nature and inexhaustible imagination, is full of various subjects, action, an abundance of figures and accessories, and pathetic gestures.

Creator of the Baroque He became the creator of a vibrant and exciting style of artistic expression, later called Baroque. The bright, lush Rubensian style is characterized by the depiction of large, heavy figures in rapid movement, excited to the limit by an emotionally charged atmosphere. Sharp contrasts of light and shadow and warm, rich colors seem to imbue his paintings with ebullient energy. He painted crude biblical scenes, swift, exciting animal hunts, sonorous military battles, examples of the highest manifestations of the religious spirit, and he did all this with an equal passion for transferring the highest drama of life onto canvas.

Famous paintings Diana's Return from the Hunt, Dresden Art Gallery, Germany Union of Earth and Water, State Hermitage Museum, St. Petersburg

Decline of Life “The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph.” Rubens painted in order to give pleasure. With the help of his art, he tried to reflect the beauty of the world around him, of everything created in the world. A happy, deeply religious person, uniquely gifted by Providence.

Decline of life During his travels, Rubens became a widower. Upon returning to his native Antwerp in 1630, he married his friend’s 16-year-old daughter, Elena Furman. Living in the countryside brought Rubens closer not only to nature, but also to the peasants. It became more and more difficult for him to work every year due to progressive gout. In 1640 Rubens died. After restoration, a Rubens Museum was opened in his Antwerp house (in 1947).

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