The Triumph of Henry IV — Peter Paul Rubens, ca. 1630

The Triumph of Henry IV, 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.

Holder's headings: Kings, Men, Women, Horses, Chariots
Wikidata depicts: horse, man

Means

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Rights

Credit: Rogers Fund, 1942
Licence: CC0-1.0
Evidence: metmuseum.org collection api v1: isPublicDomain=true on object 437534 (read 2026-09-01)
Record: https://www.metmuseum.org/art/collection/search/437534

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. 1630

941

Door Boss: Bust of a Satyress, Northern Italian — Door Boss: Bust of a SatyressNorthern Italianc. 1580The Art Institute of Chicago

One of the Set of the Four Evangelists: Mark, Alessandro Vittoria — One of the Set of the Four Evangelists: MarkAlessandro VittoriaModeled c. 1580The Art Institute of Chicago

Sacrifice of Noah, Bernard Salomon — Sacrifice of NoahBernard Salomonca. 1580–1610Metropolitan Museum of Art, New York, NY

Collar (Made from Border), Italy — Collar (Made from Border)Italy1575/1625The Art Institute of Chicago

Fragment, Italy — FragmentItaly1575/1625The Art Institute of Chicago

Fragment, Italy — FragmentItaly1575/1600The Art Institute of Chicago

A Stallion, Habiballah of Sava — A StallionHabiballah of Savaca. 1601–6Metropolitan Museum of Art, New York, NY

A Cantharus, Unknown — A CantharusUnknownca. 1575Cooper Hewitt, Smithsonian Design Museum

Also at Metropolitan Museum of Art, New York, NY

673

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

Other makers only

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

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

0.88

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

0.87

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

0.87

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

Drawing, François Verdier, French, 1651 - 1730 — DrawingFrançois Verdier, French, 1651 - 1730ca. 1700Cooper Hewitt, Smithsonian Design Museum

0.87

The Triumph of Mordecai, Jean François de Troy — The Triumph of MordecaiJean François de Troyca. 1736Metropolitan Museum of Art, New York, NY

0.86

Drawing, Felice Giani, Italian, 1758–1823 — DrawingFelice Giani, Italian, 1758–1823About 1810Cooper Hewitt, Smithsonian Design Museum

0.86

Drawing, François Verdier, French, 1651 - 1730 — DrawingFrançois Verdier, French, 1651 - 1730ca. 1700Cooper Hewitt, Smithsonian Design Museum

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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Next

Peter Paul Rubens made The Triumph of Henry IV, and made these too.

Made in the seventeenth century, like The Triumph of Henry IV.

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

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