Peter Paul Rubens created a new kind of fleshy body, turning folds and fat from signs of sin into vivid emblems of nature, nourishment, and joy. Moving from Bacchic revels, through intimate portraits of his wives and children, to the Allegory of Peace, Sara Benninga shows how Rubens shifts attention from early modern anxieties about illicit excess to a realm of licit pleasures where wine, marriage, family and civic concord are deeply intertwined. The study offers art and cultural historians as well as readers interested in the depiction of the body and emotions in art history new insights into Rubens’s paintings, and an original understanding of how his early modern images made pleasure visible and reshaped the painted body.