In the Portrait of Deborah Kip and her Children (Washington, National Gallery), 1630, Rubens uses the address to the viewer to promote an image of family constituted by the father's gaze. In the Minerva Protecting Peace from Mars (London, National Gallery) domestic concerns are transformed into political concerns: family serves as the model for the State, and the viewer is Charles I. The London allegory reflects Rubens's own values, as further exemplified in other works, especially paintings of his own family.
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