The Death of Hector

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• Josh asked

  where was the death of hector painted

• Museum Boijmans Van Beuningen answered

  Dear Josh, After his studies and trip to Italy, Rubens settled in Antwerp in 1608, where he was at the head of a large workshop with lots of staff, assistants and students. At the time The Death of Hector was painted, the workshop was in the centre of the city. Now it is a museum called 'Rubenshuis'. Kind regards, Els

• chris asked

  is this a renaissance painting?

• Museum Boijmans Van Beuningen answered

  Hello Chris, Yes when you would need to position this painting in a period, it would be 'renaissance'. This means 're-birth' and refers to the renewed interest in classical culture (after a period in which artists only worked in the service of the church and God). It is renaissance because of the subject that is painted (a scene from classical mythology) and because of the virtuosity in the way the painter pictured the human figures. Kind regards, Els

• Loran asked

  Can you say something about the symbolism that Rubens likes to use? Why did he put angels on the top? Is there a reason for the white horses on the left? In the finished painting there are two roosters fighting on the bottom. And two horns (cornucopia?) with hair coming out of it. Is there a story he wants to tell with those details?

• Museum Boijmans Van Beuningen answered

  Dear Loran, yes, probably all details that Rubens depicts have a role in the story. This painting is from a series about the Greek mythological figure Achilles, and here Achilles takes part in the Trojan war by killing Hector, the son of the Trojan king Priamus, with the help of the goddess Athens. The small cherubs in the sky accompany her. According to Homer, the Hector's body was pulled around the city walls by horses, so hence the white horse and the chart. The two roosters seem to echo the fight between the two men. According to a more elaborate version of the scene that also depicts an altar for offerings, the two horns are indeed meant as cornucopia. If you are interested to know more, you might be interested to read the catalogue of the 2018/19 Pure Rubens exhibition. I hope this is helpful. Kind regards, Els

• Garrett asked

  The sword hector is holding seems to be of a far later date in time, is the armor and weapons theyre using historically accurate?

• Museum Boijmans Van Beuningen answered

  Dear Garrett, thank you for your observation. The curator completely agrees: the sword does not seem very antique. As always, the image is a visualisation of antiquity by the artist. Rubens studied artifacts and sculptures from antiquity closely, but still there was a lot of imagination involved. There might be literature about Rubens' historical accuracy with respect to armor and weapons, but to find it requests quite specialized research. I hope this is helpful. Kind regards, Els

• Shaun Hogan asked

  Is it goddess Athena overlooking the fight between achilles and hector?

• Museum Boijmans Van Beuningen answered

  Hi Shaun, yes it is! There are three persons in the middle of this painting and the middle one is Athena (Minerva). She helped Achilles to beat Hector. Best, Xin

• ella asked

  why did peter paul rubens create this piece

• Museum Boijmans Van Beuningen answered

  Dear Ella,
  This particular oil sketch belongs to a series of sketches depicting the life of Achilles. Rubens used these sketches as preliminary studies for a series of valuable tapestries. Namely, it was much easier for him to adjust details in the oil sketches to finalize the design than in the large, costly tapestries.
  Best,
  Frederieke
  

• Julia F asked

  Where were the original paintings displayed and what were they used for?

• Museum Boijmans Van Beuningen answered

  Dear Julia,
  The painting is a preparatory oil sketch for a tapestry, which would become part of a series of eight tapestries dedicated to the life of Achilles. The tapestries were probably commissioned by Ruben’s father-in-law Daniel Fourment, who was a tapestry merchant in Antwerp. Perhaps Fourment commissioned them for his own collection, but it is also possible that Fourment acted as a sort of go-between for a client who remains unknown. The number and the various dimensions of the eight tapestries may possibly have had something to do with the room for which this series was intended.
  Kind regards,
  Jephta