OIL ON CANVAS MARRIAGE THETIS AND PELEUS

Madrid School of the 17th Century. Circle of CORTE, Juan de la (Antwerp, c. 1585 – Madrid, 1662). “The Wedding of Thetis and Peleus”. Oil on canvas. This work describes the wedding of the nereid Thetis and Prince Peleus, parents of Achilles. It was celebrated on Mount Pelion, and all the deities attended, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple inscribed "for the fairest," which caused the dispute between Athena, Aphrodite, and Hera that led to the Judgment of Paris, ultimately sparking the Trojan War. The banquet is depicted in a meticulously crafted composition, set within a richly decorated classical interior illuminated by the light of Apollo, who stands at the far end of the table. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle, with Hera, queen of the gods, to his left. In the lower right corner, a group of satyrs serve wine, accompanied by ornate metal vessels rendered with meticulous and descriptive brushwork. The remaining gods are clearly differentiated, with Athena in the foreground on the right, and, following a dynamic, typically Baroque zigzag pattern, Aphrodite with Eros, Hermes, and the bride and groom on the left, and Poseidon on the right. Formally, this work is perfectly situated within the 17th-century Madrid school, which flourished around the court. Thus, we see a sumptuous, allegorical, classicist Baroque style, where studies of light and color take on special significance, revealing the exalted and luminous tone characteristic of this school's maturity. Specifically, we can relate this painting to the circle of Juan de la Corte, a painter of Flemish origin. Nothing is known today of his early training, as Palomino's claim of his birth in Spain has been refuted by documentary evidence, with his will stating that he was born in Antwerp. Documents also survive in which the painter declares his apprenticeship in Flanders, where he "practiced his craft for many years." For all these reasons, he has been associated with Flemish artists of the period who, through personal acquaintance or the study of their works, powerfully influenced the development of his personal style. We know of his presence in Spain at least from 1613. His work at court encouraged him to apply for the position of royal painter, which Bartolomé González left vacant upon his death in 1627, an objective he did not achieve. There is no documentary evidence, therefore, to support Palomino's claim that he was the king's painter. However, he enjoyed moderate success in the capital, and his works appear in numerous inventories of noble families from that period. He also received royal commissions, such as the cycle of biblical stories he painted for the Buen Retiro Palace. His work, according to his own account, focused on "architecture, battles, and landscapes," genres in which he was highly regarded by his contemporaries. One of the most interesting characteristics of his style is his frequent treatment of mythological themes, which, rendered on canvas in various cycles, offer us a uniquely majestic panorama of a subject matter quite uncommon in the painting of Spain at that time. Another outstanding aspect of his work was the proliferation of architectural perspectives clearly linked to Nordic theorists, among whom Vredeman de Vries stands out. His painting style remained rooted in earlier traditions, demonstrating a certain modesty and archaism, but the unique nature of the subjects he addressed makes him worthy of being remembered. Juan de la Corte is represented in the Prado Museum, the Maritime Museum of Barcelona, the Cerralbo Museum, and the Municipal Museum of Madrid, among others.

· Size: 97 x 122 cm; 116 x 143 cm (marco).