The Raising of Lazarus

Peter Paul Rubens (Siegen 1577 - Antwerp 1640)

Peter Paul Rubens was born on the eve of the feast day of the saints Peter and Paul (after whom he was named) – on 28 June 1577 – in Siegen, Westphalia, the son of a Protestant lawyer Jan (1530-1588), who with his wife Maria (1538-1608) had left their native Antwerp in 1568. He died a long professed Catholic in Antwerp on 30 May 1640 after an immensely successful career as a painter, from which he amassed a fortune, and as a public servant in the service of the Archduchess Isabella, the Governor of the Spanish Netherlands, and of his sovereign, her nephew, King Philip IV of Spain.

His oeuvre includes well over a thousand paintings – partly made possible by a well-organized studio – supplemented by an extensive group of drawings and of engravings after his work, the production of which he supervised. Much of his output was of religious subjects, but he also specialized in mythologies; he was an innovative landscape painter and a sympathetic portraitist especially of friends and members of his family. Four elaborate tapestry series were designed by him, and he occasionally followed the then current Antwerp practice of collaborating with other independent artists.

Rubens’s protean genius encompassed other fields: he was well versed in classical literature (like other educated men of his time) and in archaeology; he published a book on contemporary Genoese architecture and contributed to architectural design in Antwerp. An avid collector (and successful dealer) of paintings, classical sculpture, gems, and drawings by other masters, he was an expert iconographer, and a regular contributor of designs for frontispieces. Recent research has shown he was an active investor in property and a generous financier.

Three artists are later recorded as his teachers in Antwerp, where his widowed, and now Catholic mother had returned, of which the last, the learned Otto van Veen (1556-1629) was the most influential. In May 1600, two years after he had become a master in the Antwerp guild of St Luke, he went to Italy, from where he returned at the end of 1608. There he had been employed as court painter to Vincenzo I Gonzaga, Duke of Mantua (1562-1612), for whom he acted as a diplomatic courier to King Philip III of Spain (1578-1621) in 1603. Beside his study of classical and Italian art, he executed large-scale altarpieces in Rome, Mantua and Genoa.

The archducal sovereigns of the Spanish Netherlands appointed him their court painter in 1609; the following year he married Isabella Brant (1591-1626) with whom he had three children. His reputation and clientele became international; after completing the decoration (destroyed) of the aisles and galleries of the Antwerp Jesuit Church, he was commissioned by Marie de Médicis, Queen Mother of France, to paint a cycle of her life (Musée du Louvre) and that of her deceased husband (never completed) for her Luxembourg Palace in Paris. In the 1630s he painted a cycle for the ceiling of the Banqueting Hall in London (in situ) for King Charles I of Great Britain; for the city of Antwerp, he designed the decorations for the Cardinal-Infante’s Joyous Entry into Antwerp and for King Philip IV of Spain, an extensive series (chiefly Museo Nacional del Prado) for the Torre de la Parada, near Madrid. He was ennobled by Philip IV in 1624 and knighted by Charles I in 1630.

Rubens’s public service (conducted in secret early on) for the archduchess began in the early 1620s and became increasingly important. Following a visit to Madrid, he was engaged in high-level diplomatic negotiations in London in 1629-30. Having attended the exiled Dowager Queen Marie de Médicis in the southern Netherlands he largely retired from such service in 1632, two years after his second marriage to Helena Fourment, with whom he had five children.

REFERENCES
C. Ruelens and M. Rooses (eds.), Correspondance de Rubens et documents epistolaires concernant sa vie et ses oeuvres, 6 vols., Antwerp 1887-1909; M. Rooses, L’oeuvre de P.P. Rubens. Histoire et description de ses tableaux et dessins, 5 vols., Antwerp 1886-92; R.S. Magurn, The Letters of Sir Peter Paul Rubens, Cambridge 1955; Corpus Rubenianum Ludwig Burchard in 29 parts and multiple volumes of which the last are forthcoming, 1968-; M. Jaffé, Rubens. Catalogo Completo, Milan 1989; J.S. Held, The Oil Sketches of Peter Paul Rubens: A Critical Catalogue, 2 vols., Princeton 1980