Study for "The Bear Hunt" (for the Alcázar, Madrid), Peter Paul Rubens (Flemish, 1577–1640)

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Iconclass
25F23(BEAR)beasts of prey, predatory animals: bear

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Rights

Credit
Leonard C. Hanna Jr. Fund
Licence
CC0-1.0
Evidence
openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 151517 (read 2026-09-01)
Record
https://clevelandart.org/art/1983.69
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. 1639

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

5
A Faun Grasping a Bunch of Grapes, Peter Paul Rubens (Flemish, 1577–1640)
A Faun Grasping a Bunch of GrapesPeter Paul Rubens (Flemish, 1577–1640)after 1616–18Cleveland Museum of Art
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
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 c. 1639

986
Henrici Cornelii Agrippae ab Nettesheym De incertitudine et vanitate scientiarum declamatio invectiva, ex postrema authoris recognitione, Agrippa von Nettesheim, Heinrich Cornelius
Henrici Cornelii Agrippae ab Nettesheym De incertitudine et vanitate scientiarum declamatio invectiva, ex postrema authoris recognitioneAgrippa von Nettesheim, Heinrich Cornelius1584Stiftung der Werke von C.G.Jung, Zürich
The Sacrifice of Isaac, Paolo Veronese
The Sacrifice of IsaacPaolo Veronese1585Museo del Prado
Kichik Beg Wounded during Babur's Attack on Qalat, from a copy of the Baburnama (Book of Babur), Mughal
Kichik Beg Wounded during Babur's Attack on Qalat, from a copy of the Baburnama (Book of Babur)Mughalc. 1590The Art Institute of Chicago
Lovers parting, page from a book of fables, Unknown
Lovers parting, page from a book of fablesUnknownc. 1590–95Cleveland Museum of Art
Calligraphy: Preface to the Anvar-i Suhaili, Unknown
Calligraphy: Preface to the Anvar-i SuhailiUnknownc. 1590Cleveland Museum of Art
Adoration of the Magi, Maarten de Vos (Flemish, 1532–1603)
Adoration of the MagiMaarten de Vos (Flemish, 1532–1603)c. 1590Cleveland Museum of Art
Somniorum synesiorum omnis generis insomnia explicantes, libri IIII : quibus accedunt, eiusdem haec etiam De libris propriis ... ; De curationibus et praedictionibus admirandis ; Neronis encomium ; Geometriae encomium, Cardano, Girolamo
Somniorum synesiorum omnis generis insomnia explicantes, libri IIII : quibus accedunt, eiusdem haec etiam De libris propriis ... ; De curationibus et praedictionibus admirandis ; Neronis encomium ; Geometriae encomiumCardano, Girolamo1585Stiftung der Werke von C.G.Jung, Zürich
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

Also at Cleveland Museum of Art

583
Relief of Nyankhnesut Seated, Unknown
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Stele of Shemai, Unknown
Stele of ShemaiUnknownc. 1960–1916 BCECleveland Museum of Art
Relief of Hatshepsut or Tuthmosis III, Unknown
Relief of Hatshepsut or Tuthmosis IIIUnknown1479–1425 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Nefertiti Offers to the Aten, Unknown
Talatat: Nefertiti Offers to the AtenUnknown1353–1347 BCECleveland Museum of Art
Tomb Relief of the Chief Physician Amenhotep and Family, Unknown
Tomb Relief of the Chief Physician Amenhotep and FamilyUnknownc. 1279–1257 BCECleveland Museum of Art
Stele of the High Priest of Ptah, Shedsunefertem, 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.

The Triumph of Henry IV, Peter Paul Rubens
The Triumph of Henry IVPeter Paul Rubensca. 1630Metropolitan Museum of Art, New York, NY
0.88
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
0.87
Lion Hunt, Eugène Delacroix
Lion HuntEugène Delacroix1860–61The Art Institute of Chicago
0.87
Wild Animal Hunt (frieze), Etienne Delaune, French, 1519 - 1583
Wild Animal Hunt (frieze)Etienne Delaune, French, 1519 - 1583ca. 1570Cooper Hewitt, Smithsonian Design Museum
0.84
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–18231790-1800Cooper Hewitt, Smithsonian Design Museum
0.84
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–18231790-1800Cooper Hewitt, Smithsonian Design Museum
0.84
The Capture of Samson, Peter Paul Rubens
The Capture of SamsonPeter Paul Rubens1609–10The Art Institute of Chicago
0.84
Wolf and Fox Hunt, Peter Paul Rubens
Wolf and Fox HuntPeter Paul Rubensca. 1616Metropolitan Museum of Art, New York, NY
0.84

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 Study for "The Bear Hunt" (for the Alcázar, Madrid).

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