Patrons of Peter Paul Rubens
Rubens was extremely sought after as a court painter and portraitist during his lifetime. His portraits seem to include every important figure of the 17th century ranging from the Archduke and Archduchess Albert and Isabella of the Netherlands to King Philip II of Spain to Marie de' Medici, Queen of France. Throughout his life, Rubens was commissioned by several important figures and groups in the Catholic Church and in the royal courts of Europe.
His first noted patron came about during his first stay in Italy. Vincenzo I, Duke of Mantua, was known for spending large amounts of money on magnificent displays of wealth and luxury. Vincenzo remained Rubens' patron until Rubens returned to Antwerp. Though Rubens had every intention of returning and continuing work for the Duke, he eventually decided to remain in Antwerp.
One of the factors that led to Rubens' decision to remain in Antwerp was the offer he received from the Archduke and Archduchess of the Netherlands to become their personal court painter. This led to a new patronage for Rubens, and probably the longest-lasting one. Rubens was very dedicated to his country and enjoyed serving Isabella and Albert by painting their portraits. It is even mentioned in a letter from the bishop of Segovia that "Many sovereigns have tried to induce him to leave Antwerp by promises of great honours and large sums of money..." (White 186), but Rubens continued to live in Antwerp under the service of Albert and Isabella while traveling occasionally to different royal houses throughout Europe.
One of Rubens' largest commissions came from Marie de' Medici in 1621. the Queen Mother of France was constructing the Luxemburg Palace, and she made the request that Rubens paint 21 different pieces depicting her virtues and achievements. This took place while Rubens was still under the patronage of the Archduchess Isabella, however she saw this more as an opportunity to cultivate a good relationship with France rather than an inconvenience.
His first noted patron came about during his first stay in Italy. Vincenzo I, Duke of Mantua, was known for spending large amounts of money on magnificent displays of wealth and luxury. Vincenzo remained Rubens' patron until Rubens returned to Antwerp. Though Rubens had every intention of returning and continuing work for the Duke, he eventually decided to remain in Antwerp.
One of the factors that led to Rubens' decision to remain in Antwerp was the offer he received from the Archduke and Archduchess of the Netherlands to become their personal court painter. This led to a new patronage for Rubens, and probably the longest-lasting one. Rubens was very dedicated to his country and enjoyed serving Isabella and Albert by painting their portraits. It is even mentioned in a letter from the bishop of Segovia that "Many sovereigns have tried to induce him to leave Antwerp by promises of great honours and large sums of money..." (White 186), but Rubens continued to live in Antwerp under the service of Albert and Isabella while traveling occasionally to different royal houses throughout Europe.
One of Rubens' largest commissions came from Marie de' Medici in 1621. the Queen Mother of France was constructing the Luxemburg Palace, and she made the request that Rubens paint 21 different pieces depicting her virtues and achievements. This took place while Rubens was still under the patronage of the Archduchess Isabella, however she saw this more as an opportunity to cultivate a good relationship with France rather than an inconvenience.