The Life of Achilles — Epic Tapestries by Peter Paul Rubens
Blossoming from the brush of Rubens, Achilles’ life force has rooted itself ever more deeply into history, propagating itself onto sumptuous tapestries, prized possessions adorning European palaces and national museums.
Selecting eight defining scenes from the life of Achilles, Peter Paul Rubens (1577–1640) poured every ounce of his artistic virtuosity into his masterpieces of Western Civilization’s earliest and most enduring hero.
In one for the angst-filled bucket list of lost opportunities, I lately learned that I missed the perfect chance to see them all together in a wonderful museum exhibition, Peter Paul Rubens: The Life of Achilles.
Image Caption: Achilles discovered by Odysseus among the daughters of Lycomedes — modello by Peter Paul Rubens. Source: Wikimedia Commons
Peter Paul Rubens: The Life of Achilles
All eight of Rubens’ scenes were presented in a comprehensive exploration of the artist’s personal interest in Achilles, the visual and literary resources influencing his work, and the technical aspects of executing these incredible masterpieces.
A full suite of finished works, carefully preserved since the last half of the 17th century, were on display. This incuded all of Ruben’s original oil sketches on oak panels, several of his lavishly painted modelli used as references for the weavers’ looms, and many of the original, richly executed tapestries were displayed, as well.
This amazing exhibition took place in the Netherlands at Rotterdam’s Museum Boijmans Van Beuningen from 30 August to 16 November 2003 and then moved to Spain from 9 December to 19 February 2004 at Madrid’s Museo Nacional del Prado.
The accompanying catalog, appropriately entitled, Peter Paul Rubens: The Life of Achilles is written by curators Friso Lammertse and Alejandro Vergara, with contributions by Annetje Boersma, Guy Delmarcel and Fiony Healy. (I’m impatiently awaiting my copy from Amazon)
According to Lammertse, as reported in the catalog publication review by University of Cincinnati’s Kristi Nelson, Rubens’ father-in-law may have been instrumental in the commissioning of these works.
As a top-tier tapestry merchant, Daniel Fourment was closely connected to the Life of Achilles series, and the provenance of many of the original sketches and tapestries is listed as his home.
Rubens Conceived of Tapestry as a Comprehensive Whole
Lammertse explains that Rubens conceived of tapestry as not just individual pieces, but as a comprehensive whole. The architecture of the client’s home or palace where the tapestries would hang was a critical factor in the creative process and final designs.
Delmarcel notes that various famous workshops in Brussels produced their own editions of the Achilles tapestries. Different border designs were often used, perhaps to more closely match the tastes of diverse clients.
Healy suggests that Rubens was likely influenced by original texts, as well as Renaissance publications, for narrative details included in his designs. She stresses the brilliant intuition Rubens displays, producing designs that visually express both the human and heroic qualities of Achilles’ character.
Did Rubens Miss Anything?
As you view the following images, take note of the visual content of the eight separate scenes. Are these the key scenes you would say define the fame of Achilles? If you could commission Rubens, what else would you like to see?
The mourning of Achilles over the death of Patroklos might be an obvious choice, but I’d really like to see what Rubens would have done with this as a starting point for a ninth masterpiece:
Image Caption: Tondo of an Attic Red-Figure Kylix, ca. 500 BCE, depicting Achilles tending Patroklos’ arm, wounded by an arrow. Source: Wikimedia Commons
Also, don’t miss the caption details. You might find it interesting to follow the changes in size from sketch to modello to tapestry, and to notice the artistic changes in border designs as well as other design variations.
From Rubens’ Sketches to Modelli to Full-Scale Tapestries:
1. Thetis Dipping the Infant Achilles Into the River Styx:
Image Caption: Rubens’ Sketch for “Thetis dipping the infant Achilles into the river Styx,” ca 1630–1635, oil on oak panel. (44.1 × 38.4 cm / 17.4 × 15.1 in) Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons.
Image Caption: Rubens’ Modello for “Thetis dipping the infant Achilles into the river Styx,” ca 1630–1635. (size and current location not stated) oil on canvas. Source: Wikimedia Commons.
Image Caption: Wool and silk Tapestry, ca. 1630–1699, attributed to Frans and Jan Raes, based on Rubens’ “Thetis dipping Achilles in the River Styx.” (423 × 362 cm / 13 ft. 10 in × 11 ft. 10 in). Brussels, Koninklijke Musea voor Kunst en Geschiedenis. Source: Wikimedia Commons
2. Achilles Educated by the Centaur Chiron:
Image Caption: Rubens’ Sketch for “Achilles Educated by the Centaur Chiron,” ca. 1630–1635, oil on oak panel. (44 × 38.5 cm / 17.3 × 15.2 in) Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons
Image Caption: Rubens’ Modello for “Achilles Educated by the Centaur Chiron,” ca. 1630–1635. (size not stated) oil on canvas. Madrid, Museo Nacional del Prado. Source: Wikimedia Commons
Image Caption: Tapestry of wool and silk attributed to Geraert Van Der Strecken, ca. 1675–1699, (259 cm x 351 cm / 8 ft. 6 in x 11 ft. 6 in) based on Rubens’ “Achilles Educated by the Centaur Chiron.” Source: Wikimedia Commons
3. Achilles Recognized Among the Daughters of King Lycomedes:
Image Caption: Rubens’ Sketch for “Achilles Recognized Among the Daughters of Lycomedes,” ca. 1630–1635, oil on oak panel. (45.5 × 61.2 cm / 17.9 × 24.1 in) Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons
Image caption: Rubens’ Modello for “Achilles Recognized Among the Daughters of Lycomedes,” ca. 1630–1635, (size not stated) oil on canvas. Madrid, Museo Nacional del Prado. Source: Wikimedia Commons
Image Caption: Tapestry of wool and silk, ca. 1653–1664, attributed to Jan van Leefdael. Based on Rubens’ “Achilles Recognized Among the Daughters of Lycomedes.” (495 × 607 cm / 16 ft. 2 in × 19 ft. 10 in). Antwerp, Rubenshuis. Source: Wikimedia Commons
4. The Wrath of Achilles:
Image Caption: Rubens’ Sketch for “The Wrath of Achilles,” ca. 1630–1635, oil on oak panel. (45 × 46 cm / 17.7 × 18.1 in). Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons
Image Caption: Rubens’ Modello for “The Wrath of Achilles,” ca. 1630–1635, (108.5 cm x 106.8 cm / 42.7 in x 42 in) oil on canvas. London, The Courtauld Gallery. Source: Wikimedia Commons
Image Caption: Tapestry of wool and silk, with gold and silver threads attributed to the workshop of Daniël Eggermans based on Rubens’ “The Wrath of Achilles,” ca. 1630–1635. (417 cm × 390 cm / 13 ft. 8 in × 12 ft. 9 in). Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons
Image Caption: Tapestry of wool and silk, attributed to Frans Raes based on Rubens’ “The Wrath of Achilles.” (400 cm × 390 cm / 13 ft. 1 in × 12 ft. 9 in). Brussels, Royal Museums of Art and History. Source: Wikimedia Commons
5. Briseis Restored to Achilles:
Image Caption: Rubens’ Sketch for “Briseis Restored to Achilles,” ca. 1630–1631 oil on oak panel (45.4 cm x 67.6 cm / 17.9 in x 26.6 in), Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons
Image Caption: Rubens’ Modello for “Briseis Restored to Achilles,” ca. 1630–1635, (size not stated) oil on canvas. Madrid, Museo Nacional del Prado. Source: Wikimedia Commons
Image Caption: Tapestry of wool and silk attributed to Frans and Jan Raes, ca. 1650, based on Rubens’ “Briseis Restored to Achilles.” (416 cm × 593 cm / 13 ft. 7 in × 19 ft. 5 in). Brussels, Koninklijke Musea voor Kunst en Geschiedenis. Source: Wikimedia Commons
6. Thetis Receiving the Arms of Achilles from Vulcanus:
Image Caption: Rubens’ Sketch for “Thetis Receiving the Arms of Achilles from Vulcanus,” ca. 1630–1635, oil on oak panel (44.6 × 53.4 cm / 17.6 × 21 in). Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons
Image Caption: Rubens’ Modello for “Thetis Receiving the Arms of Achilles from Vulcanus,” ca. 1630–1635, oil on canvas (size not stated). Pau, France, Musee’ des Beaux-arts de Pau. Source: Wikimedia Commons
(Unfortunately, no image of a tapestry of Thetis Receiving the Arms of Achilles from Vulcanus could be found online)
7. The Death of Hector:
Image Caption: Rubens’ Sketch for “The Death of Hector,” ca. 1630–1635, oil on oak panel. (44.4 × 53 cm / 17.5 × 20.9 in) Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons
Image Caption: Rubens’ Modello for “The Death of Hector,” ca. 1630–1635, (size and current location not stated) oil on canvas. Source: Wikimedia Commons
Image Caption: Tapestry of wool and silk; date, attribution, and size not stated, based on Rubens’ “The Death of Hector,” Royal Palace of Turin. Source: Wikimedia Commons
8. The Death of Achilles:
Image Caption: Rubens’ Sketch for “The Death of Achilles,” ca. 1630–1635, oil on oak panel, (45.3 × 46 cm / 17.8 × 18.1 in) Rotterdam, Museum Boijmans Van Beuningen. Source: Wikimedia Commons
Image Caption: Rubens’ Modello for “The Death of Achilles,” ca. 1630–1635, (107.5 cm x 109.2 cm / 42.2 in x 43 in) oil on canvas. London, The Courtauld Gallery. Source: Wikimedia Commons
Image Caption: Tapestry of wool and silk attributed to Jan Raes,ca. 1630 based on Rubens’ “The Death of Achilles,” (411 cm x 462 cm / 13 ft. 1 in x 12 ft. 9 in) Brussels, Royal Museums of Art and History. Source: Wikimedia Commons
Image Caption: Tapestry of wool and silk attributed to Gerard Peemans, ca. 1655–1693, based on Rubens’ “The Death of Achilles,” (410 cm × 427 cm / 13 ft. 5 in × 14 ft. 0.1 in). Antwerp, Rubenshuis. Source: Wikimedia Commons
The Significance of Rubens’ Life of Achilles
With a monumental body of works numbering 1,403 pieces, not including the numerous copies made in his workshop, Rubens’ Life of Achilles series represents an almost insignificant fraction of Rubens’ oeuvre.
And yet, despite the small number of pieces, the impact of Rubens’ contribution to Achilles’ perpetual fame is hardly insignificant.
Blossoming from the brush of Rubens, Achilles’ life force has rooted itself ever more deeply into history, propagating itself onto magnificent tapestries considered as prized possessions by royals and art collectors alike.
Adorning the gilded walls of European palaces and grand national museums of art and history, Rubens’ extraordinary artworks offer shining proof that Achilles’ prophesied fate is still flourishing vigorously.
Achilles’ kleos aphthiton, or “unwilting glory” as eloquently translated by Prof. Gregory Nagy, is still perpetuating, still blooming gloriously, generation after generation, throughout the ages.
Peter Paul Rubens’ Life of Achilles masterpieces are highly significant for contributing to this continuity, visually perpetuating our perennial love for Homer’s Shining Prince Achilles.
And, like the beloved bones of Patroklos mingling through eternity in the burial urn with Achilles’, Rubens’ reward is a similar kleos — his fate has become gloriously interwoven with the fate of Achilles.
[This article originally appeared on my personal blog, The Shield of Achilles]
