Classicism1632
The Judgement of Paris
Peter Paul Rubens
Curator's Eye
"Paris, assisted by Mercury, must choose the most beautiful among Hera, Athena, and Aphrodite, the latter being awarded the golden apple, thus triggering the Trojan War."
A pinnacle of Flemish Baroque, this mature work celebrates female beauty and the tragic dilemma of human choice faced with the divine, orchestrated by Rubens with unmatched chromatic virtuosity.
Analysis
Painted around 1636, "The Judgment of Paris" represents the culmination of Rubens' reflection on the female nude and classical mythology. In the historical context of the 17th century, Rubens acted not only as a painter but also as a high-ranking diplomat, imbued with a neo-Stoic culture. This work was commissioned by Cardinal-Infante Ferdinand for Philip IV of Spain, highlighting the importance of painting as a tool of royal prestige. Rubens' style is at its peak here: a free touch, vibrant skin tones, and a unique ability to infuse movement into the stillness of the canvas, marking a break with the academic rigor of his early career.
The mythological context is rooted in the premises of the Trojan War. Eris, the goddess of Discord, not having been invited to the wedding of Peleus and Thetis, threw a golden apple inscribed "to the fairest." Zeus, refusing to decide between his wife Hera and his daughters Athena and Aphrodite, charged Mercury to lead the goddesses before Paris, a Trojan prince then a shepherd. The myth explores human vulnerability to divine promises: Hera offers power, Athena military glory, and Aphrodite the love of the most beautiful woman in the world, Helen. Paris chooses Aphrodite, sealing a tragic fate for his people through this gesture.
Technically, Rubens uses a light preparation that allows light to pass through the glaze layers, giving the bodies an almost supernatural internal luminosity. The treatment of the flesh is revolutionary: Rubens mixes blues, reds, and ochres to simulate blood circulation under the skin. The fabrics, notably Paris's red cloak and the goddesses' silks, are rendered with an impetuosity that foreshadows the Rococo. The artist perfectly masters Venetian "colorito" while maintaining Flemish anatomical solidity, creating a dialogue between the Northern tradition and the influence of Titian.
Psychologically, the work is a theater of hesitation and seduction. Paris is represented in a pose of active contemplation, his gaze fixed on Aphrodite, while Mercury, the messenger, observes with an almost ironic curiosity. The tension lies in the contrast between the serenity of the bucolic landscape and the gravity of the future consequences of the choice. The goddesses are not mere statues; they possess a vibrant humanity, each expressing her nature: the disdainful majesty of Hera (accompanied by her peacock), the armed wisdom of Athena, and the triumphant sensuality of Aphrodite, the latter being a portrait of Rubens' second wife, Hélène Fourment.
One of the most intimate secrets of this canvas is the identification of the models. Aphrodite is undoubtedly Hélène Fourment, Rubens' young wife, who became his ultimate muse. Recent scientific X-ray analyses have revealed that Rubens initially painted the goddesses in more modest positions. During the creation process, he modified the postures to accentuate the torsion of the bodies ("contrapposto"), making the scene more dynamic and sensual. It was also discovered that the background landscape, though typical of Brabant, contains precise botanical elements that were not present in his earlier versions of the same subject.
A mystery also surrounds the reaction of the Spanish court. It is said that King Philip IV was so enamored with the painting's sensuality that he kept it in his private apartments, away from the eyes of the Inquisition. However, after Rubens' death, some royal advisors deemed the nudes too provocative and suggested burning or covering them. Fortunately, the artist's prestige and the king's passion for art saved the work from censorship. Pigment analysis also revealed the intensive use of natural ultramarine, one of the most expensive pigments of the 17th century, confirming the unlimited budget for this royal commission.
Finally, a symbolic curiosity lies in the figure of Allecto, one of the Furies, lurking in the black clouds above the goddesses. She is the omen of war and destruction. Her presence, often ignored at first glance, transforms this scene of beauty into a moral warning about the dangers of unleashed passions. It is this duality—the celebration of life and the certainty of death—that makes Rubens a master of Baroque drama.
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