Portrait of Anne of Austria, Queen of France
c. 1622-25
Peter Paul Rubens (Flemish, 1577-1640)
On View

Anne of Austria [1601-1667]was the wife of King Louis XIII of France. The Queen is represented at about the age of twenty-five, dressed with a "Medici" pleated lace ruffle around her neck and a jeweled crown on her head. The satin dress is embroidered with repeated fleur-de-lys, and she wears an ermine-lined mantle.

The portraits of Anne and Louis were probably painted during one of Rubens' visits to Paris when he was directing the decoration of the Luxembourg Gallery.


  • Artist Name: Peter Paul Rubens (Flemish, 1577-1640)
  • Title: Portrait of Anne of Austria, Queen of France
  • Date: c. 1622-25
  • Medium: Oil on canvas
  • Dimensions: 47-1/4 x 38-1/8 in. (120 x 96.8 cm)
  • Credit Line: The Norton Simon Foundation
  • Accession Number: F.1965.1.059.P
  • Copyright: © The Norton Simon Foundation

Object Information

Frederick II (1712-1786), Elector of Brandenburg and King of Prussia, Charlottenburg, 1768, by inheritance to;
Wilhelm II (1859-1941), King of Prussia and Emperor of Germany, Charlottenburg.
Hohenzollern Family (family of Wilhelm II) c. 1933.
[Duveen, Inc., New York, 1936/7-1964, sold to];
The Norton Simon Foundation.

Loan Exhibition of Forty-three Paintings by Rubens and Twenty-five Paintings by Van Dyck

  • Los Angeles County Museum of Art, 1946-11-19 to 1946-12-22

Rubens and Van Dyck

  • New York, Duveen Art Galleries, 1959 to

Rubens et son temps

  • Paris, Musée de l'Orangerie, 1936-11 to 1937-01

[on loan]

  • New York, Metropolitan Museum of Art, 1965-12-30 to 1968-03-23

[on loan]

  • Los Angeles County Museum of Art, 1969-04-30 to 1972-09-13

[on loan]

  • Houston, Museum of Fine Arts, to 1973-11-05

Seventeen Masters of Painting

  • Houston, The Museum of Fine Arts, 1950-01-15 to 1950-02-05

Rubens: A Royal Portrait Artist

  • Musée du Luxembourg, 2017-10-04 to 2018-01-14

A Loan Exhibition of Fashion Headdress 1450-1943, for the Benefit of New York Infirmary for Women and Children

  • Wildenstein & Co. (New York, N.Y.), 1943-04-27 to 1943-05-27

[on loan]

  • Minneapolis, The Minneapolis Institute of Arts, 1968-04-01 to 1968-10-31

Masterpieces of Five Centuries, Forty-Eight Paintings and Sculptures from the Norton Simon Foundation and the Norton Simon, Inc. Museum

  • Houston, Museum of Fine Arts, 1972-10-04 to 1973-11-04

Lock, Stock and Barrel: Norton Simon's Purchase of Duveen Brothers Gallery

  • Norton Simon Museum, 2014-10-24 to 2015-02-16
  • Glück, Gustav, The Burlington Magazine, pl. ivb pp. 178, 183
  • Millier, A., Art Digest, p. 31
  • de Hevesy, A., Gazette des Beaux-Arts, p. 97, 142
  • LaFarge, Henry A., Artnews, p. 12
  • Anonymous, Specification des peintures trouvées à maison mortuaire de feu Peter Paul Rubens, 1640,
  • Winter, G. L., Beschreibung aller Seltenheiten der Kunst in dem Koniglichen Schlosse Charlottenburg, 1768,
  • Oesterreichs, Matthias, Beschreibung aller Gemälde, Antiquitäten, und anderer kostbarer und erkwürdiger Sachen, so in denen benden Schößern von Sans-Souci wie auch in dem Schloß zu Potsdam und Charlottenburg enthalten sind., 1773, no. 578 p. 98
  • Rumpf, J. D. F., Berlin und Potsdam. Eine Beschreibung aller Merkwürdigkeiten dieser Städte und ihrer Umgebungen, 1823, p. 227
  • Smith, John, A Catalogue raisonné of the works of the most eminent Dutch and Flemish Painters, Part II Rubens, 1830, p. 30-32
  • Rooses, M., L'Oeuvre de P. P. Rubens, 1890, no. 887 pp. 124
  • Sterling, Charles, Rubens et son temps, 1936, no. 67 p. 124
  • Valentiner, W. R., Loan Exhibition of Fashion in Headdress, 1450-1943, 1943, no. 26
  • Valentiner, W. R., The Art Quarterly, 1946, no. 81 pp. 158, 163
  • Valentiner, W. R., Loan Exhibition of Forty-three Paintings by Rubens and Twenty-five Paintings by Van Dyck, 1946, no. 27
  • Valentiner, W. R., Bulletin of the Art Division of the Los Angeles County Museum, 1948, p. 28
  • Larsen, Eric, P. P. Rubens with a Complete Catalogue of His Works in America, 1952, no. 63a p. 217
  • Huemer, Frances, Courpus Rubenianum Ludwig Burchard XIX: Portraits I, 1977, part XIX, no. 22, fig. 72 pp. 138-141
  • Willis, F. Roy, Western Civilization: An Urban Perspective, 1981, p. 36
  • Moote, A. Lloyd, Louis XIII, the Just, 1989, pl. 3 p. 265
  • Jaffé, Michael, Catalogo Completo Rubens, 1989, no. 701 p. 270
  • Masterpieces from the Norton Simon Museum, 1989, p. 53
  • The Open University Art Course, Princes and People: France and the British Isles, 1620-1714. Block 1: Traditional society and the civil wars, 1620s-1640s, 1994, fig. 11 p. 43
  • Ost, Hans, Jahrbuch der Staatlichen Kunstsammlungen in Baden-Württemberg, 2001, fig. 9 pp. 66, 73
  • Campbell, Sara, Collector Without Walls: Norton Simon and His Hunt for the Best, 2010, cat. D50b p. 445
  • Blaise Ducos, Frans Pourbus le Jeune, 2011, P.C. 48 p. 309
  • Erin Griffey, On Display: Henrietta and the Materials of Magnificence, 2014, fig. 76 pg.#145, pg.# 146
  • Merle du Bourg, Alexis, L'Objet d'Art, 2017, p. 7 ; p. 6 (ill.)
  • Rubens: Portraits princiers, 2017, cat. 41 p. 172, p. 219 ; p 173 (ill.), p. 175 (ill.), Back Cover and Inside of Dust Jacket (ill.)
  • Sophie Roubertie, Apprendre à voir - la vie dans l'Art, 2018, pp. 72-73

Additional Artwork by Artist

Autograph Letter (Written in Secretary's Hand in Dutch, Signed by Rubens on Verso) Peter Paul Rubens 1618
David Slaying Goliath Peter Paul Rubens c. 1616
Meleager and Atalanta and the Hunt of the Calydonian Boar Peter Paul Rubens c. 1618-19

Image reproduction permission may be granted for scholarly or arts related commercial use. All image requests, regardless of their intended purpose, should be submitted via the reproduction request form.

Images may be protected by copyright and other intellectual property rights. Additional permission may be required.

Approved requests for the reproduction of an image will receive a contract detailing all fees and conditions of use of the image. Upon receipt of both the signed contract and full payment, the Office of Rights and Reproductions will provide the image. A complimentary copy of the published material must be provided to the Norton Simon Museum.

Reproduction Request Form