Who painted The Holy Women at the Sepulchre?

The Holy Women at the Sepulchre was painted by Peter Paul Rubens in 1611.

Where can I see The Holy Women at the Sepulchre?

The Holy Women at the Sepulchre is held by Norton Simon Museum.

What movement is The Holy Women at the Sepulchre?

The Holy Women at the Sepulchre is associated with Flemish Baroque painting.

Can I buy a print of The Holy Women at the Sepulchre?

Museum-quality prints of The Holy Women at the Sepulchre are available made-to-order from Artifact World Gallery.

Artwork

The Holy Women at the Sepulchre

Peter Paul Rubens , 1611

The Holy Women at the Sepulchre is an oil painting by the Flemish Baroque painting artist Peter Paul Rubens. It dates from 1611 and is held in the collection of the Norton Simon Museum.

About this work

Overview

Created in 1611 by the Flemish painter and diplomat Peter Paul Rubens, this oil on canvas belongs to the Baroque period in the Netherlands. The composition centers on a group of women gathered around an open tomb, illuminated against a dark backdrop, while two angels in white robes gesture toward the scene. The work is currently housed in the collection of the Norton Simon Museum.

Subject & Meaning

The painting visualizes a moment from the Christian narrative of the Resurrection, showing the three women—traditionally identified as Mary Magdalene, Mary of Bethany, and the Virgin Mary—encountering angels at the empty tomb. Their varied robes and expressive faces convey a mixture of shock, reverence, and awe, underscoring the theological significance of the discovery of the risen Christ.

Technique & Style

Rubens employs the dramatic chiaroscuro typical of Flemish Baroque, using deep shadows to heighten the luminous figures. Rich, saturated colors—red, purple, green—distinguish the women's garments, while the angels' white attire reflects the light. The dynamic poses and fluid brushwork enhance the sense of movement and emotional intensity.

History & Provenance

After its completion in the early seventeenth century, the canvas entered private collections before being acquired by the Norton Simon Museum in the mid‑twentieth century. Its documented provenance traces a path from Rubens’ workshop in Antwerp to various European owners, reflecting the work’s enduring appeal among collectors of Baroque art.

Context

Rubens created this piece during a prolific phase when he was integrating Counter‑Reformation themes with the exuberant visual language of the Baroque. The depiction of holy women and angels aligns with contemporary devotional practices, offering a visual meditation on faith and divine revelation that resonated with both ecclesiastical patrons and private viewers.