Male Nude Tied to Tree

Prints and Drawings

c. 1620

Circle of Peter Paul Rubens (Flemish, 1577-1640)
retouched by Peter Paul Rubens

It is clear from drawings like this one, which relates to a series of prints representing Peter Paul Rubens’s workshop materials, that Rubens’s assistants copied his drawings. Rubens likely encouraged this practice, and this drawing may even show signs of correction in the form of ink retouching to emphasize the contour lines of the figure.

Status: Currently Off View
Department: Prints and Drawings

Artist: Circle of Peter Paul Rubens
Title: Male Nude Tied to Tree
Place: Flanders (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1615–1625
Medium: Black chalk, with pen and brown ink retouching, on ivory laid paper, laid down on ivory wove paper
Dimensions: Primary/secondary supports: 30.8 × 20.5 cm (12 3/16 × 8 1/8 in.)
Credit Line: The Leonora Hall Gurley Memorial Collection
Reference Number: 1922.3107
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/85875/manifest.json

Harold Joachim, compiled by Suzanne Folds McCullagh and Sandra Haller Olsen,
Italian Drawings of the 15th, 16th, and 17th Centuries (Chicago: University of Chicago Press, 1979), no. 5G4.
 Jaffé, Michael. “Seven Unpublished Drawings by Rubens.” In Ars naturam adiuvans: Festschrift für Matthias Winner zum 11. Marz 1996, edited by Victoria V. Flemming and Sebastian Schütze. Mainz am Rhein: P. von Zabern, 1996, fig. 2, 453–455 (as Rubens).
Jeremy Wood, Rubens: Copies and Adaptations from Renaissance and Later Artists, Italian Artists, Artists Working in Central Italy and France, Corpus Rubenianum Ludwig Burchard XXVI, part II, 2 vols. (London: Harvey Mill, 2011), vol. 1, p. 444, under no. R20 (as copy after related drawing, formerly in the I.Q. van Regteren Altena collection).
Christie’s, Amsterdam, The I. Q. van Regteren Altena Collection, Part IV: Dutch and Flemish Drawings from 1500–1900, 13 May 2015, under lot 135, p. 83 (as possibly a copy of lot 135).

The Art Institute of Chicago, “Rubens, Rembrandt, and Drawing in the Golden Age”, September 28, 2019 - January 5, 2020, pp. 55, 60-61 (ill.), 314, cat. 12, cat. by Victoria Sancho Lobis, et. al.

Sold, Puttick and Simpson, May 15, 1914, to William F. E. Gurley (1854–1943), Chicago [stamp (Lugt 5308), recto, lower right, in black]; given to the Art Institute of Chicago for the Leonora Hall Gurley Memorial Collection, 1922 [stamp (Lugt 1230b), verso, in black].

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.