The Triumph of the Church — Peter Paul Rubens (Flemish, 1577

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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: 11L541dogmatic theology11Q7324the Eucharist ~ the fourth of the seven sacraments52AA1Stupidity, Poverty of Intellect; 'Stupidità overo Stolidità' (Ripa)52AA552Intellectual Blindness; 'Cecità della Mente' (Ripa)

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Credit: Gift of Mr. and Mrs. J. H. Wade
Licence: CC0-1.0
Evidence: openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 95264 (read 2026-09-01)
Record: https://clevelandart.org/art/1916.1037

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

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

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 1628

972

Design for the Stucco Decoration of a Ceiling, Unknown — Design for the Stucco Decoration of a CeilingUnknown1578–1600Cooper Hewitt, Smithsonian Design Museum

The Annunciation, Alessandro Vittoria — The AnnunciationAlessandro Vittoriac. 1583The Art Institute of Chicago

Boy Drinking, Annibale Carracci (Italian, c. 1560–1609) — Boy DrinkingAnnibale Carracci (Italian, c. 1560–1609)1582–83Cleveland Museum of Art

Abduction of a Sabine Woman, Giambologna — Abduction of a Sabine WomanGiambolognamodel ca. 1579; cast possibly late 16th centuryMetropolitan Museum of Art, New York, NY

Seated Male Nude, Michelangelo Buonarroti — Seated Male NudeMichelangelo Buonarrotin.d.The Art Institute of Chicago

Last Supper, Raphael — Last SupperRaphaeln.d.The Art Institute of Chicago

Cuirass and Pauldrons for a Papal Swiss Guard, Italian, Brescia — Cuirass and Pauldrons for a Papal Swiss GuardItalian, Brescia1590; decoration 1623/44The Art Institute of Chicago

Table clock, Bartholomew Newsam — Table clockBartholomew Newsam1580–85Metropolitan Museum of Art, New York, NY

Also at Cleveland Museum of Art

580

Relief of Nyankhnesut Seated, Unknown — Relief of Nyankhnesut SeatedUnknownc. 2311–2281 BCECleveland Museum of Art

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: 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 — Stele of the High Priest of Ptah, ShedsunefertemUnknown945–924 BCECleveland Museum of Art

Similar picturesFound by visual likeness

8 pictures

Other makers only

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

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

0.90

Lion Hunt, Eugène Delacroix — Lion HuntEugène Delacroix1860–61The Art Institute of Chicago

0.88

The Apotheosis of the Spanish Monarchy, Giovanni Battista Tiepolo — The Apotheosis of the Spanish MonarchyGiovanni Battista Tiepolo1760sMetropolitan Museum of Art, New York, NY

0.88

0.87

The Triumph of Henry IV, Peter Paul Rubens — The Triumph of Henry IVPeter Paul Rubensca. 1630Metropolitan Museum of Art, New York, NY

0.87

Abrahams offering, Unknown — Abrahams offeringUnknown1549Amsterdam Museum

0.85

Sacrifice of Isaac, Unknown — Sacrifice of IsaacUnknown1750Medobčinski muzej Kamnik

0.85

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
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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
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Made in the seventeenth century, like The Triumph of the Church.

The Crucifixion1627
The Agony in the Garden1626
The Denial of Peter1624
The Last Supper, after Leonardo da Vinci1634

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