The Triumph of Divine Love

Artist Peter Paul Rubens (Flemish, 1577 - 1640)

Datec. 1625

CultureFlemish

MediumOil on canvas

ClassificationPaintings

ProvenanceInfanta Isabella Clara Eugenia, Coudenbergh Palace, Brussels, ca.1627-28-her death, 1633; by inheritance to her nephew, the Cardinal-Infante Ferdinand, Coudenbergh Palace, Brussels, 1633-his death, 1641; by inheritance to his brother, King Philip IV of Spain; sent to Spain ca.1648-49; possibly given as a gift to Don Luis Méndez de Haro, Marqués del Carpio [1599-1661]; possibly given to the Church of the Discalced Carmelite Nuns, Loeches. Sold (Phillips, London, May 11, 1815, lot 53 “Rubens, Charity seated in a car”). Sold (Christie’s, London, July 8, 1822, lot 17). Purchased by Joshua Taylor. Sold (Forster, London, July 25, 1835, lot 194). Purchased by Pennel for 600 guineas. Sold (Phillips, London, 1841). Purchased by Cave. Sold in Save sale for 35 guineas, 1841. Purchased by John William Bankes by 1844. St. James’s Gallery of Paintings, London, 1845. Sold (Christie’s, London, April 2, 1976, lot 23. Christopher Gibbs, London. Purchased by The John and Mable Ringling Museum of Art, May 1980.

Credit LineMuseum purchase, 1980

Object numberSN977

Rubens depicted the "Love of God" as the motherly figure of Charity whose milk was sufficient to nourish all her children. Resembling the Virgin Mary, she is shown standing on a small processional chariot drawn by two lions. Beside her a pelican pierces its breast to feed its young, a sacrificial gesture symbolizing that of Christ's. A halo of flying putti (child-angels) fills the air. Three more putti are land-bound: one bends to burn intertwined snakes, traditional symbols of sin and evil; another raises a flaming heart and a bow. The third putto, astride one of the lions, brandishes the arrow of sacred love. The theme of love, both sacred and profane, is thus announced by the putti using their cupid-like bow and arrow, the torch that ignites the feeling of love and the flaming heart. All three of these attributes recur throughout Rubens' composition. Notice, for example, that the spokes of the chariot wheel radiate alternating arrows and shafts of flame.

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On view

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