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Fig. 13. Rubens, The Judgement of Paris. London, National Gallery. Fig. 14. N.Lauwers after Jordaens, Jupiter and Mercury
in the House of Philemon and Baucis.
Fig. 15. Jordaens, Banquet of Achelous, Vienna, Albertina. Fig.16. Jordaens, Self-portrait with his
Family, St.Petersburg,Hermitage.
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Rubens’ earlier Judgement of Paris in the London National Gallery in mind (Fig. 13). Jordaens’ interest in the
rear view of the seated pose resurfaced later when he considered the theme of Jupiter and Mercury in the House of may have been a familiar visitor in Rubens’ workshop when the Lot was painted, c. 1614, as is suggested by
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Philemon and Baucis, where the loose wings on Mercury’s hat are similar. (Fig. 14). his copy after the Lot and his Family fleeing Sodom (National Museum of Western Art, Tokyo). Calypso’s servant
balancing a basket on her hip, her face in lost profile, is a pose probably also inspired by a supposed, but not
At about the same time, the pose was adopted for Pirithous in a compositional sketch for a Banquet of Achelous (c. extant, Rubens life-study similar to that for Lot’s daughter pouring wine, while the position of the left arm
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1630 or earlier Fig.15) . At the other end of the table, beside Achelous, are two women who relate closely to is already suggested in one of the servants in Lot’s train. Conspicuous is the standing servant bringing a basket
those beside Calypso. The placement of the servant’s arms pouring wine, especially her right arm, recalls the study of bread to the table, her face in half-shadow. Her pose brings Titian’s portrait of Lavinia with a tray of fruit to
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by Rubens for the daughter in his Lot and his Daughters, once at Blenheim and recently sold at auction. Jordaens mind, a version of which was said to be in a private Antwerp collection about 20 years later. But to search
47. Oil on panel, 133.9 x 174.5 cm. London, The National Gallery, inv. no. NG6379. 50. Black and white chalk, 432 x 354 mm. Antwerp, Museum Plantin Moretus, Prentenkabinet, see F. Healy in E. McGrath,
48. A lost painting was engraved in reverse by N.Lauwers, c.1630, see I.Schaudies in [Exh.Cat.] Jordaens and the Antique, Royal Corpus Rubenianum, Ludwig Burchard, XI (I), ‘Mythological Subjects, Achilles to the Graces’, London/Turnhout, 2016, I, no.
Museum of Fine Arts of Belgium, 2012, pp. 152-153, no. 58 and Fig.13 here. An oil sketch after this composition is in the 40b, and 2, fig. 331.
Victoria and Albert Museum, London (CAI.93). 51. Private collection, on loan to the Metropolitan Museum, New York,oil on canvas, 190 x 225 cm, sold at Christie’s, London,
49. Black chalk, pen and brush and brown ink and watercolour, Vienna, Albertina, inv. no. 8645, see R.A. D’Hulst, Jordaens 7 July 2016, lot 12. .
Drawings, 1-IV, 1974, I, pp. 173-174, no. A 77, and 3, fig. 86. 52. See H. Wethey, The Paintings of Titian, II, The Portraits, London, 1971, pp. 115-116, no. 60 and Lost items, no. 2.
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