Rubens in Madrid (1628-29): new technical evidence concerning his copies after Titian, and a new portrait

Abstract

Even though Rubens’s visit to the court in Madrid in 1628-29 is well documented, we remain uncertain about exactly what paintings he made at the time. We know that he painted copies after Titian, but not exactly which ones. The analysis of the materials used in two copies by Rubens after Titian that belong to the Prado, Adam and Eve and The Rape of Europa, and additional information on other paintings, shows that some of them were made with Spanish materials. This article also examines a portrait by Rubens that was discovered recently. Infrared reÀ ectography, X-radiograph and analysis of materials indicate that it was very probably painted in Madrid in 1628-29. Under this portrait is another that was probably made in the workshop of Velázquez.

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