A Faun Grasping a Bunch of Grapes, Peter Paul Rubens (Flemish, 1577–1640)

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Credit
Purchase from the J. H. Wade Fund
Licence
CC0-1.0
Evidence
openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 123095 (read 2026-09-01)
Record
https://clevelandart.org/art/1943.341
A Faun Grasping a Bunch of Grapes, Peter Paul Rubens (Flemish, 1577–1640)
A Faun Grasping a Bunch of Grapes — Peter Paul Rubens (Flemish, 1577–1640)after 1616–18

Also by Peter Paul Rubens (Flemish, 1577–1640)

5
Portrait of Isabella Brant, Peter Paul Rubens (Flemish, 1577–1640)
Portrait of Isabella BrantPeter Paul Rubens (Flemish, 1577–1640)c. 1620–25Cleveland Museum of Art
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
Study for "The Bear Hunt" (for the Alcázar, Madrid), Peter Paul Rubens (Flemish, 1577–1640)
Study for "The Bear Hunt" (for the Alcázar, Madrid)Peter Paul Rubens (Flemish, 1577–1640)c. 1639Cleveland Museum of Art
The Feast of Herod (recto); Tomyris with the Head of Cyrus (verso), Peter Paul Rubens (Flemish, 1577–1640)
The Feast of Herod (recto); Tomyris with the Head of Cyrus (verso)Peter Paul Rubens (Flemish, 1577–1640)c. 1637–38Cleveland Museum of Art
The Feast of Herod (recto), Peter Paul Rubens (Flemish, 1577–1640)
The Feast of Herod (recto)Peter Paul Rubens (Flemish, 1577–1640)c. 1637–38Cleveland Museum of Art

Within fifty years of after 1616–18

891
Ars chemica, quod sit licita recte exercentibus, probationes doctissimorum iurisconsultorum. Septem tractatus seu capitula Hermetis Trismegisti, aurei. Eiusdem Tabula Smaragdina, in ipsius sepulchro inventa, cum commento Hortulani Philosophi. Studium consilii coniugii de massa solis et lunae, Hermes
Ars chemica, quod sit licita recte exercentibus, probationes doctissimorum iurisconsultorum. Septem tractatus seu capitula Hermetis Trismegisti, aurei. Eiusdem Tabula Smaragdina, in ipsius sepulchro inventa, cum commento Hortulani Philosophi. Studium consilii coniugii de massa solis et lunaeHermes1566Stiftung der Werke von C.G.Jung, Zürich
Adoration of the Shepherds, Cornelis Cort (Dutch, 1533–1578); Taddeo Zuccaro (Italian, 1529–1566)
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Fish Market, Joachim Beuckelaer
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Astronomical table clock, Jeremias Metzger
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Plate XIV, from the "Exercitatio Alphabetica", Clément Perret, 1569/71–?
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De vitis, sectis, et dogmatibus omnium haereticorum, qui ab orbe condito, ad nostra usque tempora, & veterum & recentium authorum monimentis proditi sunt, elenchus alphabeticus ..., Du Préau, Gabriel
De vitis, sectis, et dogmatibus omnium haereticorum, qui ab orbe condito, ad nostra usque tempora, & veterum & recentium authorum monimentis proditi sunt, elenchus alphabeticus ...Du Préau, Gabriel1569Stiftung der Werke von C.G.Jung, Zürich
The Prophet Joel, Giorgio Ghisi (Italian, 1520–1582); Michelangelo Buonarroti (Italian, 1475–1564)
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Also at Cleveland Museum of Art

576
Relief of Nyankhnesut Seated, Unknown
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Similar picturesFound by visual likeness

8 pictures

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

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0.92
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0.90
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0.89

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

Next

Made in the seventeenth century, like A Faun Grasping a Bunch of Grapes.

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