Who painted Pieter Paul Rubens. Extase van Maria Magdalena?

Pieter Paul Rubens. Extase van Maria Magdalena was painted by Peter Paul Rubens in 1620.

Where can I see Pieter Paul Rubens. Extase van Maria Magdalena?

Pieter Paul Rubens. Extase van Maria Magdalena is held by Catholic University of Leuven.

What movement is Pieter Paul Rubens. Extase van Maria Magdalena?

Pieter Paul Rubens. Extase van Maria Magdalena is associated with Flemish Baroque painting.

Artwork

Pieter Paul Rubens. Extase van Maria Magdalena

Peter Paul Rubens , 1620

Pieter Paul Rubens. Extase van Maria Magdalena is an unspecified painting by the Flemish Baroque painting artist Peter Paul Rubens. It dates from 1620 and is held in the collection of the Catholic University of Leuven.

About this work

Overview

Created around 1620, this oil on canvas by Peter Paul Rubens portrays a fervent scene centered on a female figure identified as Mary Magdalene. The composition is populated by a host of angels and cherubic putti, all arranged to heighten the emotional intensity. Executed in the Baroque idiom, the work is now housed in the Musée des Beaux‑Arts in Lille.

Subject & Meaning

The central figure is shown in a state of ecstatic devotion, her face and body taut with feeling, suggesting a spiritual rapture. Surrounding angels and putti amplify the sense of divine presence, framing her as a conduit for heavenly grace. The painting thus visualizes the transformative power of religious fervor, a common theme in Counter‑Reformation art.

Technique & Style

Rubens employs dramatic chiaroscuro, casting the Magdalene in a luminous glow against a darker background to emphasize her emotional surge. The fluid brushwork captures the kinetic energy of the surrounding angels, while the rich, saturated palette typifies Baroque sensibilities. These elements combine to produce a dynamic, theatrical effect characteristic of Rubens’ mature style.

History & Provenance

The canvas entered the collection of the Musée des Beaux‑Arts in Lille in the early twentieth century, after passing through private hands whose identities remain undocumented. Its inclusion in the KU Leuven glass‑slide archive between 1839 and 1939 attests to its scholarly relevance, though the original photographer of the slide is unknown.