The Adoration of the Eucharist, Peter Paul Rubens

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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
11Q7324the Eucharist ~ the fourth of the seven sacraments
Holder's headings
sketch, eucharist, Christian subjects, women, Spain, nobility, men, figures, architechtural drawing, angels
Wikidata depicts
The Princes of the Church Adoring the Eucharist, Music Making Angels, The Secular Hierarchy in Adoration

Means

No reading yet.

Rights

Credit
Mr. and Mrs. Martin A. Ryerson Collection. CC0.
Licence
CC0-1.0
Evidence
api.artic.edu artworks api: is_public_domain=true on artwork 25790 (read 2026-09-01)
Record
https://www.artic.edu/artworks/25790
IIIF
manifest
The Adoration of the Eucharist, Peter Paul Rubens
The Adoration of the Eucharist — Peter Paul Rubensc. 1626

Also by Peter Paul Rubens

14
Portrait of a Man, Possibly an Architect or Geographer, Peter Paul Rubens
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The Feast of Acheloüs, Peter Paul Rubens
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Wolf and Fox Hunt, Peter Paul Rubens
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The Sacrifice of Isaac, Peter Paul Rubens
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Portrait of Nicolas Trigault in Chinese Costume, Peter Paul Rubens
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Within fifty years of c. 1626

897
Mercurii Trismegisti Pimandras utraque lingua restitutus, Hermes
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Also at The Art Institute of Chicago

761
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8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

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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.

  1. 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

  2. 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:
    0.70

  3. 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

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Peter Paul Rubens made The Adoration of the Eucharist, and made these too.

Made in the seventeenth century, like The Adoration of the Eucharist.

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