The Wedding of Peleus and Thetis — Peter Paul Rubens, 1636

Seen

Not described yet.

Of

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

Iconclass: 99242D393A41C592I21213
Holder's headings: weddings, women, weapons, war, Venus, tablecloth, table, Roman, poetry, nudes, mythology, mythological figures, mythical, men, marriages/weddings, helmets, gods (deities), goddesses, fruit, feast, cupids, Competition, children, chairs, chair, celebrations, beauty, armor, apples
Wikidata depicts: Zeus, Aphrodite, Athena, Hera, Hermes, Eros, Apple of Discord, Peleus, Thetis, wedding of Peleus and Thetis

Means

No reading yet.

Rights

Credit: Charles H. and Mary F. S. Worcester Collection. CC0.
Licence: CC0-1.0
Evidence: api.artic.edu artworks api: is_public_domain=true on artwork 59956 (read 2026-09-01)
Record: https://www.artic.edu/artworks/59956
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

Saint Francis, Peter Paul Rubens — Saint FrancisPeter 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

Within fifty years of 1636

1051

Sculptura in Aes, The Workshop of an Engraver, Jan van der Straet, called Johannes Stradanus (Netherlandish, active Italy, 1523–1605); Philip Galle (Flemish, 1537–1612); Philip Galle (Flemish, 1537–1612) — Sculptura in Aes, The Workshop of an EngraverJan van der Straet, called Johannes Stradanus (Netherlandish, active Italy, 1523–1605); Philip Galle (Flemish, 1537–1612); Philip Galle (Flemish, 1537–1612)c. 1591Cleveland Museum of Art

The Sacrifice of Isaac, Paolo Veronese — The Sacrifice of IsaacPaolo Veronese1588Kunsthistorisches Museum

St John the Baptist in the Wilderness, Jan van der Straet, called Stradanus, Flemish, 1523–1605 — St John the Baptist in the WildernessJan van der Straet, called Stradanus, Flemish, 1523–1605ca. 1588Cooper Hewitt, Smithsonian Design Museum

Triumph of Death with three fates in an architectural frame above a wheel of fortune flanked by skeletons; a skull and an hour glass at top and with wheel intended to spin at center, Andrea Andreani, Italian, 1558/1559 - 1629 — Triumph of Death with three fates in an architectural frame above a wheel of fortune flanked by skeletons; a skull and an hour glass at top and with wheel intended to spin at centerAndrea Andreani, Italian, 1558/1559 - 16291588Cooper Hewitt, Smithsonian Design Museum

Pandora, das ist die edlest Gab Gottes oder der werde und heilsame Stein der Weysen, mit welchem die alten Philosophi, auch Theophrastus Paracelsus, die unvollkommene Metallen durch Gewalt des Fewrs verbessert ... Ein guldener Schatz, welcher durch einen Liebhaber dieser Kunst ... errettet ist worden ..., Reusner, Hieronymus — Pandora, das ist die edlest Gab Gottes oder der werde und heilsame Stein der Weysen, mit welchem die alten Philosophi, auch Theophrastus Paracelsus, die unvollkommene Metallen durch Gewalt des Fewrs verbessert ... Ein guldener Schatz, welcher durch einen Liebhaber dieser Kunst ... errettet ist worden ...Reusner, Hieronymus1588Stiftung der Werke von C.G.Jung, Zürich

M. Tullii Ciceronis opera omnia, praeter hactenus vulgatam Dionysii Lambini editionem ; accesserunt D. Gothofredi,... note, Cicero, Marcus Tullius — M. Tullii Ciceronis opera omnia, praeter hactenus vulgatam Dionysii Lambini editionem ; accesserunt D. Gothofredi,... noteCicero, Marcus Tullius1588Stiftung der Werke von C.G.Jung, Zürich

Erster [- zehender] Theil der Bücher und Schrifften des edlen, hochgelehrten und bewehrten philosophi und medici Philippi Theophrasti Bombast von Hohenheim ... / [Erster bis sechster Theil.], Unknown — Erster [- zehender] Theil der Bücher und Schrifften des edlen, hochgelehrten und bewehrten philosophi und medici Philippi Theophrasti Bombast von Hohenheim ... / [Erster bis sechster Theil.]Unknown1589Stiftung der Werke von C.G.Jung, Zürich

Also at The Art Institute of Chicago

769

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

Similar picturesFound by visual likeness

5 pictures

Other makers only

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

0.87

0.84

The Triumph of the Church, Peter Paul Rubens (Flemish, 1577–1640) — The Triumph of the ChurchPeter Paul Rubens (Flemish, 1577–1640)after 1628Cleveland Museum of Art

0.84

Diana and Her Nymphs Departing for the Hunt, Peter Paul Rubens (Flemish, 1577–1640); Workshop — Diana and Her Nymphs Departing for the HuntPeter Paul Rubens (Flemish, 1577–1640); Workshopc. 1615Cleveland Museum of Art

0.83

Study of the Lamentation on the Dead Christ, Benjamin West — Study of the Lamentation on the Dead ChristBenjamin Westca. 1785Yale Center for British Art

0.83

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:
0.70
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 The Wedding of Peleus and Thetis, and made these too.

Made in the seventeenth century, like The Wedding of Peleus and Thetis.

Abraham's Sacrifice1635
The Last Supper, after Leonardo da Vinci1634
The Baptism of Christ1641
The Toilet of Bathsheba1643

Library

Classroom

Yours