Date : approx. between 1622 and 1625
Dimensions : 1,55 m x 3,94 m
Material : Oil on canvas
Acquisition : Sénat (1815)
Ecole flamande - Période Baroque
| Les Parques filant la destinée de Marie de Médicis
Item 1 on 24
Flemish and Northern Painting
Painting (Tableau mythologique)
Area related
Paris (France)
Site related :
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| Description |  |
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The first painting of the narrative cycle, The Destiny of Marie de' Medici, is a twisting composition of the three Fates on clouds beneath the celestial figures of Juno and Jupiter.
The Fates are depicted as beautiful, nude goddesses spinning the thread of Marie de' Medici's destiny; their presence at Marie's birth assures her prosperity and success as a ruler that is unveiled in the cycle's subsequent panels.[34] In Greek and Roman mythology, one Fate spun the thread, another measured its length, and the third cut the thread. In Rubens' depiction, however, the scissors necessary for this cutting are omitted, stressing the privileged and immortal character of the Queen's life. The last panel of the cycle, in accordance with this theme, illustrates Queen Marie rising up to her place as queen of heaven, having achieved her lifelong goal of immortality through eternal fame.
Early interpretations explained Juno's presence in the scene through her identity as the goddess of childbirth. Later interpretations suggested, however, that Rubens used Juno to represent Marie de' Medici's alter ego, or avatar, throughout the cycle. Jupiter accordingly signifies the allegory of Henri IV, the promiscuous husband.
| Related article(s) | |
Commande de la reine Marie de Médicis à Rubens
En 1622, la reine Marie de Médicis, veuve d'Henri IV et mère de Louis XIII, commande à Rubens une suite de vingt-quatre tableaux pour décorer la galerie occidentale du premier étage de son palais du Luxembourg à Paris (actuel Sénat).
Métamorphoses d'Ovide : Lycaon et les crimes de la terre (I, 163-252)
Du haut de son trône, Jupiter voit les crimes de la terre. Il gémit; et se rappelant l'horrible festin que Lycaon venait de lui servir, il est transporté d'un courroux extrême, digne du souverain des dieux; il les convoque; à l'instant ils sont assemblés.
Métamorphoses d'Ovide : Europe (II, 833-875)
Après s'être ainsi vengé de la jalousie d'Aglauros, Mercure, porté sur ses ailes rapides, abandonne les campagnes que protège Pallas, et remonte au céleste séjour.
L'Amour et la Folie
Fable de La Fontaine
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