A Forest at Dawn with a Deer Hunt, 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
24Asun as celestial body25G3trees25Hlandscapes34B11dog25H15forest, wood25F24(DEER)(+621)hoofed animals: deer (+ animal(s) being hit, shot, caught)43C11124125F24(DEER)hoofed animals: deer
Holder's headings
Hunting, Deer, Forests, Dawn
Wikidata depicts
forest, hunting, deer, dawn

Means

No reading yet.

Rights

Credit
Purchase, The Annenberg Foundation, Mrs. Charles Wrightsman, Michel David-Weill, The Dillon Fund, Henry J. and Drue Heinz Foundation, Lola Kramarsky, Annette de la Renta, Mr. and Mrs. Arthur Ochs Sulzberger, The Vincent Astor Foundation, and Peter J. Sharp Gifts; special funds, gifts, and other gifts and bequests, by exchange, 1990
Licence
CC0-1.0
Evidence
metmuseum.org collection api v1: isPublicDomain=true on object 437526 (read 2026-09-01)
Record
https://www.metmuseum.org/art/collection/search/437526
A Forest at Dawn with a Deer Hunt, Peter Paul Rubens
A Forest at Dawn with a Deer Hunt — Peter Paul Rubensca. 1635

Also by Peter Paul Rubens

14
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 ca. 1635

976
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
Escutcheon, Federico Zuccaro, Italian, 1542 – 1609
EscutcheonFederico Zuccaro, Italian, 1542 – 1609ca. 1580Cooper Hewitt, Smithsonian Design Museum
Ferdinandes Magalanes Lusitanus, plate 4 from "Americae Retectio", Jan van der Straet, called Stradanus, Flemish, 1523–1605
Ferdinandes Magalanes Lusitanus, plate 4 from "Americae Retectio"Jan van der Straet, called Stradanus, Flemish, 1523–16051580sCooper Hewitt, Smithsonian Design Museum
Mars, Jan van der Straet, called Stradanus, Flemish, 1523–1605
MarsJan van der Straet, called Stradanus, Flemish, 1523–1605ca. 1580 – 1605Cooper Hewitt, Smithsonian Design Museum
CRADLE, Unknown
CRADLEUnknownca. 1580Cooper Hewitt, Smithsonian Design Museum

Also at Metropolitan Museum of Art, New York, NY

677
Marble female figure, Bastis Master
Marble female figureBastis Master2600–2400 BCEMetropolitan Museum of Art, New York, NY
Relief Fragment with a Ship Under Sail, Unknown
Relief Fragment with a Ship Under SailUnknownca. 2465–2458 BCEMetropolitan Museum of Art, New York, NY
Tomb Chapel of Raemkai: South Wall, Unknown
Tomb Chapel of Raemkai: South WallUnknownca. 2446–2389 BCEMetropolitan Museum of Art, New York, NY
West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah, Unknown
West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and WerdjedptahUnknownca. 2420–2250 BCEMetropolitan Museum of Art, New York, NY
Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching Lion, Unknown
Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh Sign, Unknown
Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh SignUnknownca. 2150–2010 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a Lion, Unknown
Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tail, Unknown
Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tailUnknownca. 2100–2080 B.C.Metropolitan Museum of Art, New York, NY

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 Forest in Winter at Sunset, Théodore Rousseau
The Forest in Winter at SunsetThéodore Rousseauca. 1846–67Metropolitan Museum of Art, New York, NY
0.89
Forest Scene, Jacob van Ruisdael
Forest SceneJacob van Ruisdaelc. 1655National Gallery of Art
0.89
The Valley of Les Puits-Noir, Gustave Courbet
The Valley of Les Puits-NoirGustave Courbet1868The Art Institute of Chicago
0.89
Greek Cavalry Men Resting in Forest, Eugène Delacroix (French, 1798–1863)
Greek Cavalry Men Resting in ForestEugène Delacroix (French, 1798–1863)1858Cleveland Museum of Art
0.88
Alexander the Great Rescued from the River Cydnus, Pietro Testa
Alexander the Great Rescued from the River CydnusPietro Testaca. 1650Metropolitan Museum of Art, New York, NY
0.87
The Home of the Heron, George Inness
The Home of the HeronGeorge Inness1893The Art Institute of Chicago
0.87
The Stream (Le Ruisseau du Puits-Noir; vallée de la Loue), Gustave Courbet
The Stream (Le Ruisseau du Puits-Noir; vallée de la Loue)Gustave Courbet1855National Gallery of Art
0.87
The Brook of Les Puits-Noir, Gustave Courbet
The Brook of Les Puits-NoirGustave Courbetc. 1855The Art Institute of Chicago
0.86

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

Peter Paul Rubens made A Forest at Dawn with a Deer Hunt, and made these too.

Made in the seventeenth century, like A Forest at Dawn with a Deer Hunt.

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