Rubens is a great humanist painter, even if religious myth is the main theme of his creation, but he is still a secular character and nature to describe the spirit world figures, as the French art historian Dana said: the surface of his works On the coated with a layer of the Catholic Holy Oil, and bones of customs, habits, thoughts and feelings, everything is pagan. In Rubens' works, he embodies the love of life, the ideal of life, the rich imagination, through the artistic image of human power and joy of life, he is good at using healthy full, vibrant image, filled with optimism and Passionate character, to express their own aesthetic ideals and fun. Because of his upper-class social environment, to meet the aesthetic requirements of the upper nobility, so he described the characters, especially women are almost all ladies, body fat fat, delicate skin, show first Nongzi, tweaking, and men are The son of a son of a class, to a certain extent, reflects the Flanders aristocratic bourgeois pursuit of pleasure and pride and extravagance of life fun. Rubens's creative life is extremely rich, works with a grand scene, a strong sense of movement, vigorous shape, imaginative and dramatic plot; contrast, full of color; flowing lines, exciting screen art, Giving a magnificent, gorgeous hot, cheerful art of feeling.

下面深圳畫室為你介紹魯本斯的主要間接罩染的畫法；
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亮部用不透明顏料，暗部用薄而透明的顏料；
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亮部應厚厚地畫，而暗部始終要薄。暗部畫薄的意思，是在原底色上形成一層薄沙的視覺灰色，由于上層薄使下層色顯露出來的，就有一種透明的感覺，皮膚就有呼吸感。
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魯本斯畫人的臉部，幾乎都有這種視覺灰色，加上主觀的色彩加強，皮膚的感覺比真的還逼真而生動。
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魯本斯畫的皮膚好象能呼吸。實際上，并不是真實的皮膚感，而是主觀加強了的效果。不會畫油畫的，總是忠實于現實真實。越忠實，其實，越離真實感越遠。
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魯本斯使用的調色液很稠，與凡代克大不一樣。魯本斯在作畫，常常將畫筆放進松節油沁一沁，但又不是用松節油作畫。這是因為，調色液十分稠所致。他主張不要在已經吸油的色層上作畫，要保持顏色的本原。
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魯本斯作畫喜歡在木板上涂一層不吸油的白石膏底子，再刷上一層帶條紋的淺灰色，然后用赭石色輕松地畫素描。他從暗部開始，再到過渡色調，為的是，在畫上產生一種珍珠光澤的冷色效果。
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用一種丹配拉顏料或膠質顏料畫，來代替老的透明底色。這樣，畫底有一種流暢輕松的特點。輪廓線只是輕淡而模糊地畫上，而不是過多期望它更多地展現畫面。
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接著，用純赭石色加深暗部和素描。亮部涂上淺色的半覆蓋色調，例如微紅的白色或微黃的白色，這類顏色即使極薄地涂于暗部，在暖的赭石色調上也會產生冷的或比較灰的效果。
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再接著，把亮部增強，用很薄而半透明的覆蓋色，賦予灰色過渡調一種珍珠灰色的彩虹光。通過用白+赭石，或白加紅等混合色的薄涂層，覆蓋灰色。

下面一起來欣賞一下他的作品吧!還有更多的作品欣賞盡在深圳畫室！