Rubens’ “The Judgement of Paris” has returned after restoration at The National Gallery
“The Judgement of Paris” shows the moment in which Paris must decide between the three goddesses Venus, Minerva, and Juno. Peter Paul Rubens (1577-1640) attempted to capture the essence of this precise moment many times. In his later creation of “The Judgement of Paris”, he created more than that. After a 14-month restoration, Rubens’s most autograph and recognisable painting is back on display at the National Gallery Collection, this time with new discoveries revealed.
The painting was probably painted sometime between 1632-5, but its preservation had to be taken up many times in the upcoming years. Following the National Gallery’s 200th anniversary, the Conservation Department implemented yet another restoration, unveiling layers that have not been seen before. Scientific and art-historical research allowed for the analyses of pentimenti (changes) by Rubens or later additions by other artists. One of them, an unknown French painter sometime between 1676 and 1721, managed to adjust erotic and voyeuristic features without tempering with the nudity of the goddesses.
Another modification by the French artist, was to transform a putto into a cupid, adding a new element to the scene. Rubens made adjustments to increase space around his figures, which allowed him to add two putti, one over Venus’ head and another that stood beside her. The French artist then turned the latter into a Cupid by adding wings. But Rubens also planned for a third putto to appear in the painting, which now is only visible as an ethereal hand after the French involvement.
More works by Curator Bart Cornelis allowed for the distinction between Ruben’s original intention and the following adjustments made by other painters. In an attempt to provide stable materials, difficult decisions had to be made as to the removal and replacement of discoloured varnish. Another focus was to keep the re-workings made by later artists, considering them part of the masterpiece’s history. For the purpose of transparency and in addition to the new display, the Gallery published a video in which the restoration processes can be viewed.
Cover photo: Peter Paul Rubens, Public domain, via Wikimedia Commons
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