27 - A follower of PETER PAUL RUBENS (Siegen, Germany, 1577 – Antwerp, Belgium, 1640), 17th century.

A follower of PETER PAUL RUBENS (Siegen, Germany, 1577 – Antwerp, Belgium, 1640), 17th century. “The Marriage of the Virgin and St. Joseph.” Oil on canvas. Measurements: 92.5 x 74 cm. The painting features a composition by Peter Paul Rubens that was popularized through the famous engraving by Schelte Adamsz. Bolswert, whose widespread circulation encouraged numerous painters to reproduce and interpret the model. It is thus part of the widespread popularity of Rubens’s compositions during the Baroque period, when prints helped spread his influence throughout Europe and the Americas. The composition is therefore attributed to Rubens, while its translation into an engraving was done by Bolswert. The scene depicts the marriage of Mary and Joseph in a monumental interior, structured by columns and stark hallmarks of light. The priest, clad in a rich red and gold cloak, presides over the ceremony before the bride and groom, who are accompanied by a procession of figures whose gestures draw the viewer’s attention. The Virgin stands out due to the luminosity of her white dress and the folds of her blue mantle, set against the ochre and dark tones of Saint Joseph. At the top, the dove of the Holy Spirit, surrounded by halos and cherub heads, underscores the sacred nature of the event, while the flowers scattered across the floor accentuate its nuptial significance. The richness of the drapery, the expressiveness of the faces, and the theatrical arrangement of the figures affirm the work’s Rubenesque influence. The influence of this model finds a parallel in “The Marriage of the Virgin,” part of the collections of the Museo Nacional del Prado—an anonymous work linked to Rubens and listed in the museum’s records as having been painted by a disciple of the master, with inventory number P002230. Its existence allows us to contextualize this painting within the dissemination and reception of Rubens’s religious models.