Rubens was an enormously successful artist in the first half of the 1600s. His painting were sought after by important patrons all over Europe. Rubens was a shrewd businessman, but of course, also a devout Catholic.

He is also a perfect example of the changed status of the artist since his friends and confidants were scholars, aristocrats, and even the Royal Families of Europe (Rubens was so trustworthy and clever that he served as a diplomat). Rubens spent several years in Italy early in his career studying Italian Renaissance art, as well as the art of classical antiquity. He combined this with the influence of Caravaggio, the Venetian artists of the Renaissance, the Baroque, and the tradition of his native Flanders (think Campin and Van Eyck). Rubens was so successful that he set up a large studio in his native Antwerp (which you can still visit). There, he churned out large numbers of paintings for his royal and wealthy clients, and charged for the paintings according to how much he had personally painted. He was always responsible for the idea of a painting, but if his assistants executed most of it, the work was less expensive. Working for him in his studio Rubens had assistants who were specialized in different things, and they could all work on different parts of a single painting, Although Rubens perfected this system, we know that it was common practice for the “Master” artist to have the idea and do much of the actual painting, but to have apprentices and assistants work on it too (remember Leonardo’s teacher asked him to do one of the angels in the painting of The Baptism of Christ. )

Peter Paul Rubens. The Elevation of the Cross. 1610-1611. Oil on canvas. 462 × 341 cm. Cathedral of Our Lady, Antwerp.