34 - Attributed to Juan de la Corte (Antwerp, circa 1585 – Madrid, 1662)

Attributed to Juan de la Corte (Antwerp, circa 1585 – Madrid, 1662) "The Abduction of Helen" Oil on canvas. 97.5 x 138 cm. The Museo del Prado holds an oil on canvas by Juan de la Corte (inv. P003102) depicting the same scene, which is practically identical in composition, style, and color to the present work. In its description of the work, the museum states that “the theme was frequently repeated in the painter’s oeuvre, and several versions of the same subject, with minor variations, are known to exist in private collections”—information that supports our attribution of the present painting to de la Corte. Apart from minor variations in some of the positions and expressions of the secondary figures and slight compositional differences in the upper right margin, the similarity in the triangle on the barge is unquestionable. They are Helen, dressed in white, standing amid the chaos and ferocity of the tragic scene; Paris at the bow of the boat; and an enraged Hercules, clad in a lion’s skin, fighting with a spike in his hands against the soldiers who are trying to prevent the boat from moving. These soldiers, sent by Helen’s husband Menelaus, “come to the rescue of their queen from a circular, vaulted building decorated with pilasters reminiscent of Agrippa’s Pantheon in Rome,” as the Prado illustrates. Born in Antwerp—a fact documented in his will—Juan de la Corte likely trained in Flanders but pursued his career primarily in Spain, particularly at the court in Madrid. As indicated in a catalog for an exhibition held at the University of Salamanca in 2006, “his work for the Crown of Spain, which began in 1615, focused mainly on the Buen Retiro Palace, for which he produced more than 50 paintings, almost all of which are lost according to the royal inventories.”' Regarding his favorite themes, Juan de la Corte himself, as reported by the Prado, confessed that he “focused on architecture, battles, and landscapes,” genres in which he was highly regarded by his contemporaries. He is, in fact, “the Spanish painter who most frequently depicts themes from the Trojan War cycle.” Bibliographic references: - Various authors. (2006). “Images of a Century: Highlights of the Baroque. 17th-Century Spanish Painting.” CCM. University of Salamanca. - Museo del Prado. (n.d.). “Corte, Juan de la.” https://www.museodelprado.es/aprende/enciclopedia/voz/corte-juan-de-la/4236322c-50b0-4cfa-aa66-36a16bb44dda - Prado Museum. (n.d.). “The Abduction of Helen.” https://www.museodelprado.es/coleccion/obra-de-arte/el-rapto-de-helena/f2ca6e0a-319b-4327-9979-aaff6c30a2dd