Point of View #13 focuses on Rubens' celebrated portrait of his second wife, Helena Fourment (1614-1673); the artist and his family always referred to the painting as "The Fur." In many respects, this is a highly unusual work that invites a closer look; especially as Rubens did not produce it for the art market but for his own enjoyment. Recent technological analyses have revealed spectacular new information on the genesis of this highlight of 17th century Netherlandish portraiture. But an analysis of the arrangement of the oak panels carried out by the restorers of the Kunsthistorisches Museum's Conservation Studio has revealed that this was not the only radical change in the course of the work's genesis. Rubens started out with a halflength figure, probably informed by Titian's Young Woman Wearing a Fur Coat that he had seen and copied in the collection of King Charles I of England during his sojourn in London.