Artist's residence 

Antwerp-born humanist and counselor jan van den wouwer already predicted it in 1620: 'their residence will evoke the astonishment of strangers and the admiration of travellers'. He was referring to the retreats of printer balthasar moretus and artist peter paul rubens. The latter honed his basic architectural knowledge from his training as a painter, through self-study and trips through italy to find inspiration. The renovation and extension of his house on the wapper were unprecedented for the time. Once again, he transformed a blank canvas into a revolutionary masterpiece.  

Rubens left antwerp in 1600. The lure of italy was too strong. He wanted to study the country's rich art and architecture. As court painter for the duke of mantua, he had privileged access to the palazzi and courtyards of the nobility and clergy. Everything he saw was noted down. With one clear mission in mind: to create his own residence in antwerp with the allure of the italian renaissance.  

 After he married isabella brant in 1608 and the couple purchased their own place two years later, the time had now come. He collected the most beautiful elements he had seen during his southern travels, bringing them together in one design. With his collection of structural drawings of city palaces and historical architectural publications at hand.    

Rubens and his family moved to the wapper in the autumn of 1615. Even before that definitive move, rubens - by then a father of two - expanded the 16th-century family home with a sculpture museum and a new wing for his studio, decorated on the outside with trompe-l'oeils. He had picked up the idea of separating private life and work life from raphael. The portico that he used to architecturally connect the two buildings was inspired by michelangelo's porta pia, a city gate in rome.    

The semicircular museum for rubens' antique busts and statues was also inspired by roman art. As with the pantheon, rubens designed an oculus at the top of the dome to allow light to enter. Antwerp and the whole southern netherlands looked on with admiration. The 'elegantissimo museo' was one big architectural innovation, combined with a hefty dose of audacity.  

Eight years after rubens' death, his widow helena fourment rented out the house to william and margaret cavendish. The british horse enthusiasts opened a riding school there. The house was subsequently sold and came into the hands of different owners. The residence underwent extensive renovations in the mid-18th century, and the french even used it as a prison in 1798.  

Unfortunately, the sculpture museum and studio have not been preserved as they were in rubens' day. After his death and the successive new owners, the house was extensively rebuilt in the 18th century. Fortunately, ​​two 17th-century prints and a painting give a clear view of both the annexed structures and the former residence. The residence was bigger than it is today. We know very little about the interior. The current layout is based on documents from the 18th century. The rooms were subsequently decorated with furniture and objects that reflected the world rubens lived in, in terms of dating, provenance and refinement. Some items actually belonged to rubens; others were produced here.  

The two prints were also used as reference for the city of antwerp's restoration of the building. Under the direction of city architect emiel van averbeke (1876-1946), rubens' residence was restored to its former glory. The house opened as a museum shortly thereafter. Millions of visitors have since learned all about the legacy of a brilliant painter and architect.  

It came as no surprise that Emiel Van averbeke was chosen as architect for the restoration and reconstruction of the rubenshuis. Van averbeke was a leading architect and had been chief architect of the city of antwerp since 1920. As an architect specialising in restorations, he earned his stripes with antwerp cathedral, among other projects. He also left his mark on a significant portion of antwerp's architecture, including the fire station in what is now the port house, the boerentoren and the pavilion of the city of antwerp at the 1930 world's fair. Van averbeke made sure that all the authentic elements of rubens' house and his studio were meticulously restored, thereby preparing the rubenshuis for the  20th century and beyond.