Highlights of the art collection

Explore a number of masterpieces from the art collection. During the alterations, a number of artworks are temporarily being displayed elsewhere.

Collection

Peter Paul Rubens, Self-portrait 

One of the four rare self-portraits that Rubens painted. Even though he never portrayed himself as a painter. Rubens saw self-portraits primarily as a promotional tool. But his intimate regard seems like an outstretched hand, to get to know him better.   Peter Paul Rubens (1577 - 1640)     Self-portrait     Circa 1623 - 1630  Oil on panel     Can be seen at the Rubens Experience (Rubenshuis, Antwerp) 

Collection

Peter Paul Rubens, The Annunciation 

One of the most high-profile and popular scenes in Western art history: the Annunciation. In his version, Rubens emphasises the magic of the moment in a resolutely domestic setting. He had brought the colours, vibrancy and dynamism back with him from Italy.    Peter Paul Rubens (1577 - 1640)     The Annunciation     1610 - 1628     Oil on canvas Can be seen in the Museum voor Schone Kunsten (Ghent)

Collection

Peter Paul Rubens, Henri IV at the Battle of Ivry

The famous battle fought by the French King Henri IV on 12 March 1590 near Ivry, west of Paris. This uncompleted composition gives us a rare insight into Rubens' creative process. It is clear to see on this canvas how he built up his paintings using pen-and-brush drawings.   Peter Paul Rubens (1577 - 1640)     Henri IV at the Battle of Ivry  1628 - 1631    Oil on canvas     Can be seen in the Koninklijk Museum voor Schone Kunsten (Antwerp)

Collection

Willem van Haecht, The Gallery of Cornelis van der Geest

One of the most important examples of the art gallery paintings that were popular in the early 17th century. This work shows the collection of Cornelis van der Geest, who lived in Antwerp and was an important collector and friend of Rubens.     Willem van Haecht (1593 - 1637)  The Gallery of Cornelis van der Geest  1628     Oil on panel     On display at Liechtenstein Garden Palace (Vienna)

Collection

Anthony van Dyck, Self-portrait

Anthony van Dyck was Rubens’s best pupil. He was extremely talented and a very fine portrait painter. It was long thought that Rubens himself had painted this impressive work, but research has shown that Anthony painted it himself. And it wasn't his first.   Anthony van Dyck (1599 - 1641)    Self-portrait     1616 - 1617  Oil on panel     Can be seen in the exhibition 'Van Dyck, the European' (Palazzo Ducale in Genoa)

Collection

Georg Petel, Adam and Eve

This showpiece, carved from ivory, was created by one of Rubens' favourite sculptors. It was part of Rubens' own collection. Georg Petel frequently produced works commissioned by Rubens, including this small sculpture of Adam and Eve next to the tree of the knowledge of good and evil.          Georg Petel (1601/1602 – 1633/1634)     Adam and Eve     1627     Ivory   Can be seen in the Rubens Experience (Rubenshuis)

Collection

Peter Paul Rubens, Adam and Eve

This panel depicting the fall of Adam and Eve was painted by the young Rubens in the style of his last teacher, Otto van Veen. The static landscape suggests that it was painted before his 8-year sojourn in Italy, around 1600.     Peter Paul Rubens (1577 – 1640)     Adam and Eve     1598 - 1600  Oil on panel  In storage

Collection

Jacques Jordaens, Neptune and Amphitrite

Neptune, god of the sea, is clearly recognisable by his familiar trident. He is standing on a shell carriage supported by a dolphin, holding the reins of two white seahorses. An underwater scene that is taking place above sea level.         Jacques Jordaens (1593 - 1678)     Neptune and Amphitrite  Circa 1648     Oil on canvas     Can be seen in the Koninklijk Museum voor Schone Kunsten (Antwerp)

Collection

Bust of ‘Seneca’

An antique marble bust, brought back by Rubens from Italy as a souvenir. Rubens incorrectly thought that it was a bust of the philosopher Seneca. Seneca, and this work, played an important role in Rubens' life and work.    Unknown artist    Bust of ‘Seneca’    Roman, 1st century    Marble   Can be seen in the Snijders&Rockoxhuis (Antwerp)

Collection

Trapezophoros

This sculpture from the 2nd century A.D. is a trapezophoros, a sculpted support for a table or wall console. Rubens used this image as an inspiration when sketching images of the standing Christ child.     Unknown artist    Trapezophoros   Greece or Asia Minor, 2nd century Marble  Can be seen in the Rijksmuseum voor Oudheden (Leiden)

Collection

De Ganay manuscript

One of four known copies of Rubens' missing copy of his theoretical notebook. In it, he noted and illustrated his ideas on subjects as diverse as optics, symmetry, proportion, anatomy, architecture and the human passions. Unknown artist after Rubens    De Ganay manuscript    2nd half of the 17th century    Paper    King Baudouin Foundation, in permanent storage at the Rubenshuis    In storage

Collection

Theodoor Rogiers, Decorative silver ewer and basin

Were these magnificent items ever put to use in Rubens’s household? Who knows? Then again, the set’s impractical shape suggests that this ewer and basin were for display rather than for daily use. A magnificent example of 17th-century Antwerp silversmithing art.  Attributed to Theodoor Rogiers (1602-1654), later addition by Josephus Hennekin (1644-1720)  Decorative ewer and basin set  1635-1636  Gold-plated silver  In storage

Collection

Jacques Jordaens, Moses and his Ethiopian Wife

We don’t often see Moses like this. Jordaens portrays the prophet not as a leader or the messenger of the Tablets of Stone, but as a modern husband of a black woman. In so doing, the painter makes a powerful statement about equality. Jacques Jordaens (1593-1678) Moses and his Ethiopian Wife C. 1650 Oil on canvas Permanent custody, Collection of the Flemish Community (looted art) On display at The Walters Art Museum (Baltimore, USA)

Collection

Jacques Jordaens, Moses, Aaron and Miriam

A drawing by Jordaens was identified as a preliminary study for his painting of Moses and his Ethiopian Wife. Together, they reveal the painter's creative thought process and highlight how modern Jordaens was. Jacques Jordaens (1593-1678) Moses, Aaron and Miriam C. 1650 Black, red and white chalk, graphite and red and yellow watercolour on paper In storage

Collection

Jacob Harrewijn, View of the Rubenshuis in Antwerp

Several distinguishing features of the Rubens garden are clearly visible in these two prints from 1684 and 1692, including the portico and the pavilion as well as the former artist residence. The prints were used as a reference for the in-depth renovation in the 1940s.     Jacob Harrewijn (1660 – 1727) View of the Rubens House in Antwerp  1684 and 1692  Gravure prints In storage

Collection

Unknown cabinetmaker and Victor Wolfvoet II, Cabinet

An art cabinet was a great way to make a statement. In the 17th century, this precious piece of furniture –with its many hidden drawers, compartments and works of art – was a coveted item in all upstanding households. Many of the mythological scenes on this cabinet were inspired by Rubens’s compositions.   Unknown cabinetmaker and Victor Wolfvoet II (1612-1652)  Cabinet  Circa 1640 Ebony, lime wood and oil on copper In storage

Collection

Peter Paul Rubens, Torso Belvedere

Rubens’s trip to Italy was a dream come true. It was there that he finally came face to face with famous Roman statues, which he copied to understand ancient art. The model for this drawing? An ancient marble statue from the Belvedere Garden in Rome.   Peter Paul Rubens (1577-1640)  Torso Belvedere  C. 1600-1603  Chalk and charcoal on paper  In storage

Collection

Peter Paul Rubens, Adoration of the Shepherds

Rubens loved oil sketches. With his vivid designs in oils, he competed with sculptors to win large commissions for altars, for example. We have no clue for which large work or patron he executed this oil sketch or ‘modello’ from 1615-1616.   Peter Paul Rubens (1577-1640) Adoration of the Shepherds1615-1616  Oil on panel  On display at the Museum Plantin-Moretus (Antwerp) 

Collection

Album Amicorum of Nicolaas and Adriaan Rockox

Some traditions are much older than we think. As early as the 16th century, Nicolaas Rockox – the later mayor of Antwerp – and his brother, who was eight years younger, asked their friends to add a drawing to their album amicorum. An album with personal contributions from friends was a common practice in student circles in those days. The double use, emphasized by a dedication to both brothers at once, makes this piece truly exceptional. A real masterpiece, rare and indispensable. Nicolaas Rockox (1560-1640) and others Album Amicorum of Nicolaas and Adriaan Rockox C. 1579-1636  Ink and watercolour drawings on paper On display at the Snijders&Rockoxhuis (Antwerp)

Collection

Artus Quellinus I, Hercules and the Nemean Lion

Hercules wrestles a ferocious lion barehanded in this extraordinary terracotta sculpture, bristling with power and energy. Interestingly, this work was only recently attributed to the sculptor Artus Quellinus I, who was inspired by a sketch by Rubens. Artus Quellinus I (1609-1668)Hercules and the Nemean Lionc. 1630-1635Terracotta On display at the Snijders&Rockoxhuis (Antwerp)

Highlights of the art collection

Peter Paul Rubens, Self-portrait

Peter Paul Rubens, The Annunciation

Peter Paul Rubens, Henri IV at the Battle of Ivry

Willem van Haecht, The Gallery of Cornelis van der Geest

Anthony van Dyck, Self-portrait

Georg Petel, Adam and Eve

Peter Paul Rubens, Adam and Eve

Jacques Jordaens, Neptune and Amphitrite

Bust of ‘Seneca’

Trapezophoros

De Ganay manuscript

Theodoor Rogiers, Decorative silver ewer and basin

Jacques Jordaens, Moses and his Ethiopian Wife

Jacques Jordaens, Moses, Aaron and Miriam

Jacob Harrewijn, View of the Rubenshuis in Antwerp

Unknown cabinetmaker and Victor Wolfvoet II, Cabinet

Peter Paul Rubens, Torso Belvedere

Peter Paul Rubens, Adoration of the Shepherds

Album Amicorum of Nicolaas and Adriaan Rockox

Artus Quellinus I, Hercules and the Nemean Lion

Together we achieve more

Peter Paul Rubens, Self-portrait 

Peter Paul Rubens, The Annunciation 