Rubens’s 1612 “Prometheus Bound” hurls the chained Titan across a diagonal vortex as Zeus’s eagle tears his liver. Heroic anatomy, collaborative realism in the raptor, volcanic light, and a persistent ember of fire turn myth into a Baroque meditation on punishment, defiance, and the cost of human gifts.
Rubens’s 1612 “Saint Simon” presents the apostle in profile, head bowed over a heavy folio while a saw—his emblem—glimmers in shadow. Humane chiaroscuro, a violet mantle, and exquisitely painted hands turn reading into a Baroque drama of attention and steadfast faith.
Rubens’s 1612 masterpiece gathers the artist, his brother Philip, Justus Lipsius, and Jan Woverius around a book-laden table beneath the bust of Seneca. Luminous color, expressive hands, and a classical setting turn a private circle of humanists into a monumental vision of friendship and learning.
Rubens’s 1612 half-length of Saint James the Less shows the apostle in a hooded yellow-ochre mantle, gripping a mason’s square. Humane chiaroscuro, tactile fabric, and quiet psychology turn the emblem of craftsmanship into a powerful image of measured devotion.
Discover Rubens’s 1612 half-length “Saint Peter,” where sculptural light, stone-colored drapery, and the contrasting metals of the apostle’s keys turn authority into intimate presence. A humane Baroque portrait of stewardship, listening, and responsibility.
Explore Rubens’s 1612 half-length of Saint John: a youthful apostle in a rose mantle, head inclined in contemplation, hands poised around a glowing chalice. Humane chiaroscuro, sumptuous color, and tactile detail fuse doctrine and devotion in a quintessential Baroque portrait.
Rubens’s 1612 half-length “Saint Andrew” presents the apostle in a scarlet mantle, turning toward light and resting his hands on the X-shaped cross. Monumental diagonals, humane chiaroscuro, and tactile detail fuse devotion and presence in a quintessential Baroque portrait.
Rubens’s 1612 half-length of Saint Bartholomew presents the apostle in clarifying light, one hand to the chest and the other holding the small flaying knife. Sculptural modeling, restrained color, and tactile detail turn emblem into character and devotion into living presence.
Enter Rubens’s 1611 tour-de-force, where a colossal Hercules staggers between a concerned nymph and a horned satyr with wine in hand. Swirling bodies, molten color, and tactile detail turn myth into living theater and explore how triumph slips into indulgence.
Explore Rubens’s 1611 half-length “St. Philip,” a luminous portrait where sculptural light, expressive hands, and the diagonal of a wooden cross reveal the apostle’s thoughtful obedience and the Baroque master’s blend of Italian monumentality with Flemish intimacy.
Discover Rubens’s 1611 masterpiece where Juno transforms the eyes of the slain Argus into the peacock’s jeweled tail. Monumental color, swirling composition, and tactile detail turn Ovid’s myth into a vivid meditation on power, memory, and metamorphosis.
Experience Rubens’s 1610 tour-de-force as the armored saint drives his lance into a roaring dragon while a white warhorse rears and a rescued princess looks on—Baroque color, believable motion, and tactile detail uniting legend with visceral reality.
Explore Rubens’s 1611 likeness of his scholar-brother Philip, a luminous head-and-shoulders portrait where living flesh, architectural ruff, and warm chiaroscuro reveal the Baroque master’s blend of Italian grandeur and Flemish intimacy.
Rubens’s 1611 “Susanna and the Elders” condenses the biblical drama into a gripping clash of flesh and fabric: a startled Susanna twists from two judges in a shadowed garden, white linen snapping, red mantle flaring, and water recording the truth of her resistance.
Discover Rubens’s electrifying 1610 triptych where straining executioners, grieving witnesses, and a rearing warhorse revolve around the diagonal lift of Christ’s cross—an early Baroque synthesis of anatomy, color, and spiritual drama that still grips viewers.
Explore Rubens’s 1610 nocturne of betrayal, where candlelit color, heroic anatomy, and Flemish textures capture the exact moment Delilah guides the barber’s scissors through Samson’s sacred locks as Philistine soldiers wait at the door.
Dive into Rubens’s 1610 tour-de-force, where blazing color, muscular diagonals, and chilling chiaroscuro capture the instant after John’s execution—Salome’s calm gaze, the silver salver, and the executioner’s raised sword exposing how courtly spectacle turns violence into ritual.
Explore Rubens’s 1610 side panel for the “Raising of the Cross,” where the goldsmith-bishop St Eligius and the philosopher-martyr St Catherine stand in radiant silk and gold beneath a descending angel—an elegant Baroque celebration of craft, courage, and devotion.