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The Rape of the Daughters of Leucippus, 1618 by Peter Paul Rubens
Canvas Print - 3114-RPP

Location: Alte Pinakothek, Munich, Germany
Original Size: 224 × 210.5 cm

The Rape of the Daughters of Leucippus by Rubens (1618) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 41.3 × 38.9 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

The Rape of the Daughters of Leucippus by Peter Paul Rubens, 1618 - canvas print
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Giclée Canvas Print | $88.23 USD

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SKU:3114-RPP
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Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
41.3″ × 38.9″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 21.7 × 20.4 in print therefore arrives as 24 × 22.8 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 41.3 × 38.9 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Rubens's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 224 × 210.5 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Alte Pinakothek, Munich, Germany. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

In "The Abduction of the Daughters of Leucippus", Rubens has presented a subject rarely developed in more recent art. The legend of the Dioscuri, which has come down to us in various versions, tells us that the mother of both was the beautiful Leda, but Castor was the mortal son of the Spartan king Tyndareus, and Pollux the son of Zeus who received immortality. The inseparable brothers once kidnapped the daughters of their uncle Leucippus, who were the brides of the powerful Hades and the acutely gifted Linnaeus. A fierce struggle broke out between one brother and the other, in which the mortal Castor fell slain. Zeus could not grant the ardent request of Pollux to send him also to the kingdom of shadows to his beloved brother, but decreed that from that time the Dioscuri should spend one day at a time in the underworld, and the next on Olympus.

Rubens chose for his painting the moment when the Dioscuri master their lovely prey. Abduction and resistance are conveyed differently in the two couples. Castor in Roman armour on his horse is the restrained male knight who lifts the girl to him with gentle strength; resistance turns to surrender, the young woman's right hand now seeks contact with her captor, and the little god of love manages to restrain the horse without much effort. At the other pair, however, the girl fiercely defends herself, wriggling in Pollux's stern embrace; his horse - as impetuous as the rider - stands on its hind legs and little Eros finds it very difficult to tame it. The mythological scene thus becomes a penetrating picture of the relationship between the two sexes, a theme that has received too many layers of interpretation throughout Rubens's oeuvre. The group is composed in the form of a standing square at its apex, and, enclosed tightly on all sides by the frame, sweeps upwards with monumental suggestiveness. The plastically modelled and artfully interwoven figures stand out as a sculptural group against the canvas. The colouring is distinguished by an intensity characteristic of this period of the master's work.

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