Exceptional discovery in Paris: a Crucifixion by Rubens resurfaces

A sensational discovery is reshaping the landscape of ancient European art: in Paris, in a private residence in the 6th arrondissement, a Crucifixion by Peter Paul Rubens has resurfaced, painted between 1614 and 1615, during the Flemish master’s peak creative maturity. This painting, forgotten for decades and until now known only through engravings and archival studies, is about to begin a new life: it will be auctioned by the Osenat maison in Fontainebleau on November 30, sparking anticipation and curiosity among collectors, scholars, and art enthusiasts. The rediscovery of such an important work offers a unique opportunity to reflect on the spiritual force and innovative impact of early European Baroque.

The canvas, of significant size (107 x 74 cm), is in an excellent state of preservation. The subject reveals the full evocative and theatrical power of Rubens’ painting: Christ’s body is isolated and thrust forward, in a dramatic atmosphere dominated by a stormy sky and the silhouette of Jerusalem in the background, drenched in rain. This kind of composition, with its dramatic contrasts and tension between light and shadow, bears witness to the revolutionary impact of Flemish Baroque on sacred iconography. The Crucifixion is not only a religious expression but also a grand pictorial statement, uniquely fusing spiritual introspection and theatrical pathos.

The estimated value of the painting has not yet been disclosed, but experts predict record figures: in recent years Rubens’ Crucifixions and religious subjects have fetched between one and five million dollars, demonstrating growing interest in Baroque sacred art. Diagnostic investigations carried out on the canvas—x-rays, pigment analysis, and archival research—have confirmed the authenticity of the work under the supervision of Nils Büttner, president of the Centrum Rubenianum in Antwerp and one of the leading Rubens scholars. Büttner has publicly stated that this Crucifixion will be included in the upcoming Addenda and Corrigenda of the catalogue raisonné, restoring to the canvas a definitive scholarly attribution and enhancing its role within Rubens’ body of work.

The painting’s history is shrouded in mystery and fascination. According to France24 and Osenat’s archives, the Crucifixion was once part of the collection of 19th-century French academic painter William-Adolphe Bouguereau, though its ownership was never publicly disclosed. Later, it passed into the hands of the owners of the Parisian villa where it has now been rediscovered, becoming the subject of an evaluation that reconstructed both its authenticity and historical provenance. Disappeared from the European stage for over a century, the painting now reemerges as a testimony of submerged heritage, ready to return to the center of research and museum interest.

The theme of the Crucifixion, a favorite of Rubens for its spiritual and symbolic power, takes on particular significance in this canvas. As a Protestant convert to Catholicism, the artist saw the representation of Christ’s Passion as both an opportunity for stylistic experimentation and personal reflection. Critics emphasize that in Rubens’ Crucifixions one perceives a rare balance between introspection and dramatic expressivity: the isolation of the figure, the theatricality of the pose, and the movement of the drapery create a scene that goes beyond sacred narrative, inviting the viewer to participate emotionally. In this Crucifixion, likely destined for private devotion, one senses the specificity of a pictorial language that combines compositional innovation with theological depth.

This Rubens masterpiece also highlights the distinctive traits of the so-called “Baroque practice,” where the fusion of art, religion, and emotion reaches the height of experimentation. Diagnostic studies have revealed a rare chromatic and material richness: from the deep reds of the garments to the dark blue of the sky, with golden highlights and silver accents underscoring the sacredness of the moment. Color becomes the protagonist, while the luminous interplay enhances the anatomical plasticity of Christ’s body, inviting reflection on the mystery of suffering and divine redemption. The strong theatricality of this Crucifixion testifies to Rubens’ role as a director of pictorial space and human sentiment, able to make every detail vibrate in the tension between the earthly and the transcendent.

The canvas will go under the hammer on November 30 in Fontainebleau, with Osenat expecting participation from collectors and institutions across Europe. The announcement of the discovery has already sparked reactions among major museums, private foundations, and admirers of the Flemish master: negotiations are underway for the possible acquisition of the painting by leading galleries eager to add an unpublished piece of European Baroque to their collections.

Beyond its economic value, the rediscovery of Rubens’ Crucifixion represents an extraordinary opportunity for cultural enrichment and the revival of forgotten heritage. For the scholarly community, the addition of this canvas to Rubens’ global catalogue opens new avenues for exploring the artist’s thematic and stylistic dimensions, reconstructing paths of private patronage, and deepening the relationship between sacred painting and 17th-century European society. The formal authentication, signed by Nils Büttner and the Centrum Rubenianum, grants historical and scientific legitimacy, transforming the Parisian case into a milestone in contemporary Rubens research.

The painting belongs to a particularly fruitful period for Rubens: between 1612 and 1620, the artist dedicated himself with renewed energy to producing grand altarpieces, biblical scenes, and religious subjects commissioned by aristocratic patrons and European churches. The rediscovered Crucifixion, probably commissioned privately for domestic devotion, distills his technical and iconographic research, positioned midway between Flemish tradition and the opening toward Baroque modernity. The dialogue between antiquity and innovation, spiritual depth and formal dynamism, makes this canvas one of the most emblematic examples of Rubens’ mature poetics.

The evocative power of the painting lies not only in its refined execution but also in the historical and human mystery surrounding its journey. The story of its rediscovery—enhanced by the discretion surrounding its ownership for nearly two centuries—adds a narrative dimension that fuels public and professional curiosity. The late November auction is expected to be a highlight of the Old Masters market, with Rubens’ Crucifixion poised to reclaim the international spotlight.

In today’s cultural climate, the emergence of a forgotten masterpiece renews attention on the protection, conservation, and study of artworks. New diagnostic technologies, collaboration between research centers, and the growing role of auction houses offer guarantees and prospects for safeguarding European heritage. After centuries of silence, Rubens’ Crucifixion returns as a source of reflection, emotion, and knowledge, ready to tell a new story between past and future.