Changing Paintings: Rubens’ Metamorphoses 2
This second article concludes my virtual exhibition of a selection of Peter Paul Rubens’ paintings of myths from Ovid’s Metamorphoses.

Rubens and his workshop painted several different accounts of Ovid’s great story of the Calydonian Boar Hunt. This is the first, from about 1611-12, with Meleager just about to finish the wounded boar off. Atalanta’s arrow is visible by its left ear, and the body of Ancaeus lies just behind Meleager’s left foot. The wall of horses behind the boar, and the crowd of hunters behind Meleager, including Atalanta in blue, frame the combatants in the foreground, with some spears directing the gaze at a visual centre of the boar’s snout.

A few years later, in about 1618-19, Rubens reworked his composition in this marvellous study of Meleager and Atalanta and the Hunt of the Calydonian Boar. This shifts the visual centre closer to the geometric centre, and brings the gaze in using a greater range of radials. It also gives Atalanta a more active part, as in Ovid’s text.

Rubens’ finished result is The Hunt of Meleager and Atalanta probably from around 1618-20. Meleager has aged slightly, and the boar rests its hoof on the body of Ancaeus. Radial lines of spears are augmented by a dog and some human figures, and the centre of the painting now includes a landscape, with bright sky used to emphasise the visual centre. It also seems to show not just Atalanta at the right hand of Meleager, but two other women behind her, and possibly another in blue robes on a horse just above the middle of the painting.

Rubens and his workshop’s Meleager Presents Atalanta with the Head of the Calydonian Boar (before 1640) shows the award of the trophy by Meleager. The couple are here alone, apart from an inevitable winged cupid, and a goddess, most probably Diana, watching from the heavens. Meleager stands on the forelegs of the dead boar, and his spear behind is still covered in its blood.

Around 1615, Rubens collaborated with Jan Brueghel the Elder (father of Jan Brueghel the Younger) in The Feast of Achelous. There are nine men around the banqueting table, without any distant nymphs.

His Stormy Landscape with Philemon and Baucis from about 1625 is one of the few paintings to show a broader view of this late moment in Ovid’s story. His dramatic landscape shows storm-clouds building over the hills, a raging torrent pouring down the mountainside, dragging large trees and animals in its swollen waters, and the four figures on a track at the right. Philemon and Baucis are struggling up the track with their sticks, Jupiter points to a rainbow formed over a waterfall at the lower left corner, and Mercury is all but naked.

Rubens and Jan Brueghel the Elder also collaborated in Nymphs Filling the Horn of Plenty, again in about 1615. Although it has no references to the fight between Hercules and Achelous, it’s good to see the staff preparing the second course of Achelous’ banquet.

This marvellous painting was probably made by Rubens’ workshop around the time of the Master’s death in 1640. It views The Abduction of Deianeira by the Centaur Nessus from the bank on which Hercules is poised to shoot his arrow into Nessus. This has the centaur running across the width of the canvas, his face and body well exposed for Hercules’ arrow to enter his chest. To make clear Nessus’ intentions, a winged Cupid has been added, and Deianeira’s facial expression is clear in intent. An additional couple, in the right foreground, might be intended to be a ferryman and his friend, who appear superfluous apart from their role in achieving compositional balance.

A few years before his death, Rubens painted a wonderful account of The Birth of the Milky Way (1636-37). Jupiter sits in the background on the left, seemingly bored. Juno’s milk arcs out from her left breast over the heavens, and her peacocks look distressed.

His atmospheric painting of the flight of Orpheus and Eurydice (1636-38) was also made during his later years of retirement, a few years before his death. Orpheus, clutching his lyre, is leading Eurydice away from Hades and Persephone, as they start their journey back to life. He opts for an unusually real-world version of Cerberus at the bottom right corner.

Rubens’ The Rape of Ganymede (1636-37) is surprising for its use of profane humour, with the placement of both ends of Ganymede’s quiver. Clearly this wasn’t intended for viewing by polite mixed company.

In 1636, when he was in retirement, Rubens made one of his wonderful oil sketches of The Death of Hyacinth, capturing the scene vividly, as Hyacinthus’ head rests against the fateful discus. This doesn’t seem to have been turned into a finished painting.

Rubens skilfully reversed Titian’s composition in his undated Venus and Adonis. Adonis is trying to depart to the left with his back to the viewer, bringing the beauty of Venus into full view, and strengthening its triangular composition. It also provides a natural place for Cupid, holding onto Adonis’s leg to stop him from going to his death. Cupid’s quiver, left on the ground behind him, is a reminder of the origin of the relationship.

In or just before 1614, Rubens made this oil sketch of Venus Mourning Adonis, a complex composition with the addition of three Graces, and the young Cupid at the right.

Rubens’ finished version of Death of Adonis retains the same composition. A rather portly Venus cradles her lover’s head as the Graces weep in grief with her. Rubens has been generous with the young man’s blood, which is splashed around his crotch and spills out onto the ground, where the hounds are sniffing it. The fateful spear rests under Adonis’s legs.

His painting of The Rape of Hippodame (Lapiths and Centaurs) (1636-38), remains faithful to his earlier sketch and its composition. Facial expressions, particularly that of the Lapith at the left bearing a sword, are particularly powerful.

Rubens’ The Death of Achilles (c 1630-35) also adheres faithfully to an earlier oil sketch. Achilles’ face is deathly white, and this brings to life the supporting detail, particularly the lioness attacking a horse at the lower edge of the canvas, symbolising Paris’s attack on Achilles.

Rubens included this oil sketch in his Achilles series, showing Thetis Dipping the Infant Achilles into the River Styx (1630-35). This is taking place in the foreground, while in the middle distance Charon is seen ferrying the dead across the River Styx into the Underworld.

In his late oil sketch of Vertumnus and Pomona of 1636, there’s no pretence that Vertumnus is a woman: he lacks breasts, and even has heavy beard stubble. However, the embrace of his right arm still brings Pomona to push him away with her left arm.

The outstanding depiction of Ovid’s story is Rubens’ earlier Vertumnus and Pomona from 1617-19. Vertumnus has assumed his real form, that of a handsome young man. Pomona looks back, her sickle still in her right hand, and her rejection of his advances is melting away in front of our eyes. Rubens even offers us a couple of rudely symbolic melons, and provides distant hints at Vertumnus doing the work in the garden while Pomona directs him, at the upper left.

In about 1618-20, Rubens collaborated with Frans Snyders to paint Pythagoras Advocating Vegetarianism. The mathematician and philosopher sits to the left of centre, with a group of followers further to the left. The painting is dominated by its extensive display of fruit and vegetables, which is being augmented by three nymphs and two satyrs. One of the latter seems less interested in the food than he is in one of the nymphs.