Hans von AachenGermania, 1552–1615Le Jugement de Pâris.
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Sul dipinto
Con le parole del museo — in francese
Peinture à l'huile sur bois ; La composition s'étage en trois plans, dans un univers champêtre. Au premier plan, la figure repoussoir d'un dieu fluvial; au deuxième plan, la scène fondatrice de la guerre de Troie. Pâris, fils du roi Priam, qui garde des moutons en Troade, doit départager trois déesses pour savoir laquelle est la plus belle. Le dieu Hermés, coiffé de son casque ailé, brandit son caducée et l'engage à choisir. Aphrodite, au centre, remporte la pomme d'or pour avoir promis à Pâris la terrienne la plus belle, Hélène. Athéna, à droite, reconnaissable au bouclier, lui promettait l'invincibilité au combat. Héra à gauche lui promettait la royauté universelle.
Musée de la Chartreuse
Scheda
- Numero di inventario
- 2819 ; 965.8 (Autre ancien numéro)
Che cosa raffigura
In catalogo
Fonti
- Musée de la Chartreuse
- Immagine: Musée de la Chartreuse — © Musée de la Chartreuse ; © Service des musées de France, 2026; Ministère de la Culture (France), base Joconde
Nella vita di Hans von Aachen
Tutta la vita1574–1587
Copyist in Venice
He joins the community of Netherlandish and German artists, printmakers and art dealers and works as a copyist in the workshop of Gaspar Rem, who arranges an apprenticeship for him with an artist known as Morett (Moretto): he copies famous works in Venice's churches, and many of the copies go to the northern European market. Pieter Isaacsz was his pupil in Italy.
1587
Return to Germany
After long years in Italy he returns to his homeland, first to Augsburg, where he paints portraits for the wealthy Fugger family; he also works in Munich, where he is commissioned to paint two altarpieces for the church of St Michael (other accounts date his return to about 1588).
1589
Chooses Munich as his residence
After visiting his native Cologne and making another trip to Venice, he chooses Munich as his residence and paints several works for Duke William V of Bavaria. Under the influence of the strictly Catholic court he develops an iconography strongly shaped by Counter-Reformation ideas.
1590
Print series “Salus generis humani”
Aegidius Sadeler, a printmaker at the Prague court, engraves 13 plates with scenes from the Life of Christ after designs by von Aachen; the emblematic borders derive from Joris Hoefnagel's missal illuminations made for Archduke Ferdinand II. Prints like these spread the artist's fame across Europe.
