Musée No:792.019

Musée No:792.019

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Isabella

Artist: Peter Paul Rubens
Date:1620-25

Sir Peter Paul Rubens (1577 –1640) was a Flemish artist and diplomat from what is now modern-day Belgium. He is considered the most influential artist of the Flemish Baroque tradition. His unique and immensely popular Baroque style emphasized movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. He had an incredible work ethic and rose at 4am every day to work, finishing at 5pm in time to go riding to keep himself fit. He liked an assistant to read classical literature to him whilst he painted. He also collected gems, ancient sculpture and coins, and other curiosities, including an Egyptian mummy.

Not only was he an enormously successful painter whose workshop produced a staggering number of works; but he also played an important diplomatic role in 17th-century European politics. He was described as having 'a tall stature, a stately bearing, with a regularly shaped face, rosy cheeks, chestnut brown hair, sparkling eyes but with passion restrained, a laughing air, gentle and courteous'. The widow of King Henry IV of France, Maria de Medici, commissioned him in 1622. She required two entire galleries of paintings of her life with the late King. Maria was notoriously difficult and changeable and her court favourite the immensely powerful Cardinal Richelieu saw Rubens as a political threat. Not ideal working conditions. The project, only half complete, was abandoned when Maria was banished.

His wife Isabella died in 1626 and in order to get over his grief he threw himself into diplomatic work. He also spent time in England carrying out commissions for Charles I including the roof of new Banqueting House at Whitehall. One of his most important patrons in the 1630s was King Philip IV of Spain who commissioned over 80 paintings. In 1630, at the age of 53, Rubens married again, Hélène Fourment, the 16 year-old daughter of a respectable merchant family. Rubens was utterly enamoured with his new wife and she figures in numerous portraits, including as Venus in a version of 'The Judgement of Paris'. During his last years Rubens spent increasing amounts of time with his new young family in his country house, and began to paint more landscapes, often for his own enjoyment, rather than for sale.

This portrait is of his beloved first wife Isabella Brant, who he married in 1609. His brother was married to her aunt. Rubens was utterly heartbroken in 1626 by the loss of 'one whom I must love and cherish as long as I live' to plague. There are several paintings and drawings of her. What an amazing expression on her face – what do you think she is thinking ?


Borders & Mounts

None of our prints come with separate mounts. Some have a printed border which replaces the need for a mount, and some are borderless pieces. In either case the edge to edge size of the prints is 'A' sized as stated. If you should want a mount around your print, then you just need to buy a mount for the 'A' size you choose and then a frame to go with that.

What size frame do I need ?

Each piece of artwork in the Musée gallery has been resized to work perfectly with International 'A' paper sizes. All you need to think about when framing your Musée artwork is that it needs to be in the appropriate A sized frame. This means that no part of your artwork will be lost to cropping when choosing frame sizes. It also means that everything will work proportionately in gallery walls, and print sets. There are many budget, off the shelf A sized frames on sites like Etsy and Ebay which we very happily recommend for our prints.

We also now produce our own collection of high quality, professionally framed artwork, ready to hang.

To see our collection of quality frames - CLICK HERE

Print Quality

Our approach to printing is built on the ability to faithfully reproduce artworks using the finest inks and papers available today. A world away from mass produced posters we take pride in producing beautiful, affordable, fine art prints in-house, for discerning interior lovers everywhere.

Giclée Printing - In order to achieve this consistent, outstanding quality we produce every archival pigment print (alternatively know as giclée) to order using the same ink, paper and printing techniques used by museums all over the world. (Giclée is pronounced gee-clay with a soft G) Our archival giclée prints are loved for their vibrant tonal range and the handmade feel of their beautiful textured papers. The quality of a giclée print is far superior to all other forms of printing and when done authentically it is the closest reproduction printing method possible for matching to an original artwork.

Acid Free Paper - Each piece of Musée Art is printed to order on 312 GSM Paper. GSM is a measurement of the thickness of the paper. It is based on calculating the amount a sheet of paper would weigh, in grams, if it was exactly one square metre in size. Paper with a higher GSM will generally be thicker and therefore more difficult to crease or tear. Museum grade acid free papers are made from 100% cotton pulp rather than wood-based products. High quality cotton fibre paper is known to last hundreds of years without appreciable fading, discolouration, or deterioration due to the fact no chemicals are used in its production. Unlike wood based, mass produced alternatives,which will deteriorate, fade and change colour over time.

Inks - Archival pigment printing (giclée) uses inks which have longevity rates calculated at over 100 years. This printing technique must utilise eight or more different ink colours which are colour profiled to match the archival paper to achieve a perfectly colour accurate reproduction of the original piece of art. 

Mount Board - All Musée museum quality prints are professionally mounted on 2.4mm acid free art board ready to free stand or frame. Mounted prints also help to preserve the qualty of the edges and keep the prints perfectly flat with no risk of cockling. Cockling is the process by which a print starts to ripple due to changing levels of ambient moisture which are naturally present in the air in all our homes. Also, when you decide to either change your Musée artwork in your frames or swap them out for a new find, a Musée mounted print will stay flat and safe whilst in storage.

Stacked image of fanned white 312 gms paper showing the high quality and softly woven texture of the surface of the paper.

312 gsm Paper

All muséee prints are reproduced on the finest quality 312 gsm museum archival acid free paper.

Mount Board

All Musée prints are mounted on acid free 2.4 mm mount board ready for
framing or free standing display.

Image of a single sheet of cotton rag paper showing the soft woven texture of the surface.

Cotton Rag

100% natural cotton based paper has a beautiful fine textured finish.