Judgment of Paris: Difference between revisions

 

{{examples}}

* Rubens ([[Big Beautiful Woman|that guy]]) was very fond of this one. He painted it in 1625, 1636 and 1639. In the earliest, Aphrodite gets a choir of angel like beings to adorn her as the winner. In all three at least one of the losers is turned away from the viewer which helps to show the dejection.

* Joachim Wtewael phrased this with Paris sitting in the lap of luxury, giving Aphrodite her gift while a group of putto crown her, similar to Rubens' works. Hera is actually positioned with her hand raised out, head turning back to the viewer with an incredulous expression on her face. This scene seems to take place at the actual party into which the apple of discord was thrown with several naked people around a table in a background and a satyr carries a barrel of wine.

* Jan Both and Cornelis van Poelenburgh collaborated on one. Van Poelenburgh did the figures while [[Who's on First?|Both]]) did the landscape. This may have influenced the decision to set the scene further from the viewer, giving Both's landscape more prominence. Thus, the figures are less detailed and have little to signify them as deities or specific individuals, though there is still one goddess turned away and a child clinging at Aphrodite's leg. Hermes is not apparent, though a crowned older bearded figure (presumably Zeus) is in the picture. Hera is also depicted as a more mature woman.

 

{{reflist}}