Saint Francis — Peter Paul Rubens, c. 1615

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These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Iconclass: 11HH(FRANCIS)83female saints (FRANCIS) - posthumous deeds, appearances of female saints
Holder's headings: Saint Francis, clouds, crucifixions, landscape, man, saints, trees

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Rights

Credit: George F. Harding Collection. CC0.
Licence: CC0-1.0
Evidence: api.artic.edu artworks api: is_public_domain=true on artwork 100342 (read 2026-09-01)
Record: https://www.artic.edu/artworks/100342
IIIF: manifest

Also by Peter Paul Rubens

Portrait of a Man, Possibly an Architect or Geographer, Peter Paul Rubens — Portrait of a Man, Possibly an Architect or GeographerPeter Paul Rubens1597Metropolitan Museum of Art, New York, NY

The Capture of Samson, Peter Paul Rubens — The Capture of SamsonPeter Paul Rubens1609–10The Art Institute of Chicago

The Feast of Acheloüs, Peter Paul Rubens — The Feast of AcheloüsPeter Paul Rubensca. 1615Metropolitan Museum of Art, New York, NY

The Holy Family with Saints Elizabeth and John the Baptist, Peter Paul Rubens — The Holy Family with Saints Elizabeth and John the BaptistPeter Paul Rubensc. 1615The Art Institute of Chicago

Wolf and Fox Hunt, Peter Paul Rubens — Wolf and Fox HuntPeter Paul Rubensca. 1616Metropolitan Museum of Art, New York, NY

The Sacrifice of Isaac, Peter Paul Rubens — The Sacrifice of IsaacPeter Paul Rubens1612The Nelson-Atkins Museum of Art

Portrait of Nicolas Trigault in Chinese Costume, Peter Paul Rubens — Portrait of Nicolas Trigault in Chinese CostumePeter Paul Rubens1617Metropolitan Museum of Art, New York, NY

St. Albert of Louvain, Peter Paul Rubens — St. Albert of LouvainPeter Paul Rubens1620The Art Institute of Chicago

Within fifty years of c. 1615

864

Pair of Gauntlets for a Child, Lucio Piccinino — Pair of Gauntlets for a ChildLucio Piccininoca. 1585Metropolitan Museum of Art, New York, NY

Pair of Gauntlets, Unknown — Pair of GauntletsUnknownca. 1585Metropolitan Museum of Art, New York, NY

Mirror clock, Master CR — Mirror clockMaster CRca. 1565–70Metropolitan Museum of Art, New York, NY

Garniture for Field and Foot Tourney at the Barriers, Northern Italian, Milan — Garniture for Field and Foot Tourney at the BarriersNorthern Italian, Milanc. 1575The Art Institute of Chicago

Design for a Sepulchral Monument for a Medici Cardinal, Francesco da Sangallo, Italian, 1494 - 1576 — Design for a Sepulchral Monument for a Medici CardinalFrancesco da Sangallo, Italian, 1494 - 1576ca. 1560–70Cooper Hewitt, Smithsonian Design Museum

Compendium alchimiae Ioannis Garlandii Angli philosophi doctissimi ... : adiecimus eiusdem compendii per Arnoldum de Villanova explicationem, Hortulanus — Compendium alchimiae Ioannis Garlandii Angli philosophi doctissimi ... : adiecimus eiusdem compendii per Arnoldum de Villanova explicationemHortulanus1560Stiftung der Werke von C.G.Jung, Zürich

Commentarius de praecipuis generibus divinationum, in quo a prophetiis autoritate divina traditis & a physicis coniecturis, discernuntur artes et imposturae diabolicae, atque observationes natae ex superstitione et cum hac coniunctae ..., Peucer, Kaspar — Commentarius de praecipuis generibus divinationum, in quo a prophetiis autoritate divina traditis & a physicis coniecturis, discernuntur artes et imposturae diabolicae, atque observationes natae ex superstitione et cum hac coniunctae ...Peucer, Kaspar1560Stiftung der Werke von C.G.Jung, Zürich

De chemia senioris antiquissimi philosophi, libellus, ut brevis, ita artem discentibus, et exercentibus, utilissimus, et vere aureus, nunc primum in lucem aeditus, Ibn-Umail, Muḥammad — De chemia senioris antiquissimi philosophi, libellus, ut brevis, ita artem discentibus, et exercentibus, utilissimus, et vere aureus, nunc primum in lucem aeditusIbn-Umail, Muḥammad1560Stiftung der Werke von C.G.Jung, Zürich

Also at The Art Institute of Chicago

761

Statuette of a Female Figure, Ancient Greek — Statuette of a Female FigureAncient GreekEarly Bronze Age, 2600–2400 BCEThe Art Institute of Chicago

Ring with a Scarab Bezel, Ancient Egyptian — Ring with a Scarab BezelAncient EgyptianSecond Intermediate Period, Dynasty 15 (about 1650–1550 BCE)The Art Institute of Chicago

Fragment of a Stela of Neferhotep, Ancient Egyptian — Fragment of a Stela of NeferhotepAncient EgyptianNew Kingdom, mid-Dynasty 19, about 1240-1195 BCEThe Art Institute of Chicago

Funerary Papyrus of Tayuhenutmut, Ancient Egyptian — Funerary Papyrus of TayuhenutmutAncient EgyptianThird Intermediate Period, probably Dynasty 21 (about 1069-945 BCE)The Art Institute of Chicago

Cauldron, China — CauldronChinaWestern Zhou dynasty (1046–771 BC ), early 9th century BCThe Art Institute of Chicago

Coffin and Mummy of Paankhaenamun, Ancient Egyptian — Coffin and Mummy of PaankhaenamunAncient EgyptianThird Intermediate Period, Dynasty 22, reign of Osorkon I (about 924–889 BCE)The Art Institute of Chicago

Relief Showing the Head of a Winged Genius, Neo-Assyrian — Relief Showing the Head of a Winged GeniusNeo-AssyrianNeo–Assyrian Period, reign of King Ashurnasirpal II (883–859 BCE)The Art Institute of Chicago

Altar, Ancient Greek — AltarAncient GreekGeometric Period (800–600 BCE)The Art Institute of Chicago

In the stacks

Not yet checked3

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

principles of art history · heinrich wolfflin
The baroque antithesis to Raphael and Diirer is here represented by Rubens’ Christ Bearing the Cross* (engraving by Pontius with a variant anterior to the picture in Brussels). The recessional movement most brilliantly developed, and made still more interesting by an upward movement. The stylistically new factor we are looking for certainly does not lie in the merely material motive of the direction of movement, but, as it is a question of a principle of present- ment, in the way in which the theme is handled, how every recessional element
0.71
principles of art history · heinrich wolfflin
PAINTING 75 tion. It is not a question of the degree of recession in the space represented, but in what way recession is made effective. Even where the seventeenth century apparently indulges in pure compositions in breadth, a closer com- parison must prove the fundamentally different point of departure. The spiral into-the-picture movement which Rubens loves will certainly be sought for in vain in Dutch pictures, yet this system of Rubens’ is only one type of re- cessional composition. There need even be no plastic oppositions of foreground and background:
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principles of art history · heinrich wolfflin
The course of the development of art, however, cannot simply be reduced to a series of separate points. Individuals fall into larger groups. Botticelli and Lorenzo di Credi, for all their differences, have still, as Florentines, a certain resemblance when compared with any Venetian, and Hobbema and Ruysdael, however divergent they may be, are immediately homogeneous as soon as to them, as Dutchmen, a Fleming like Rubens is opposed. That is to say: to the personal style must be added the style of the school, the country, the race. Let
0.69

Peter Paul Rubens made Saint Francis, and made these too.

Made in the seventeenth century, like Saint Francis.

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