The Horrors of War
Oil on Canvas
c. 1638
Florence, Palazzo Pitti
206 x 342 cm
Image Source: http://www.wga.hu/art/r/rubens/30allego/06allego.jpg
c. 1638
Florence, Palazzo Pitti
206 x 342 cm
Image Source: http://www.wga.hu/art/r/rubens/30allego/06allego.jpg
"As for the subject of the picture, it is very clear... the principal figure is Mars, who has left the open temple of Janus (which in time of peace, according to Roman custom, remained closed) and rushes forth with shield and blood-stained sword, threatening the people with great disaster. He pays little heed to Venus, his mistress, who, accompanied by her Amors and Cupids, strives with Alecto, with a torch in her hand. Nearby are monsters personifying Pestilence and Famine, those inseparable partners of War. There is also a mother with her child in her arms, indicating that fecundity, procreation, and charity are thwarted by War, which corrupts and destroys everything. In addition, one sees an architect thrown on his back with his instruments in his hand, to show that that which in time of peace is constructed for the use and ornamentation of the City, is hurled to the ground by the force of arms and falls to ruin. I believe, if I remember rightly, that you will find on the ground under the feet of Mars a book as well as a drawing on paper, to imply that he treads underfoot literature and other things of beauty. There ought also to be a bundle of darts or arrows, with the band which held them together undone; these when bound form the symbol of Concord. Beside them is the caduceus and an olive-branch, attribute of PEace; these also are cast aside. That grief-stricken woman clothed in black, with torn veil, robbed of all her jewels and other ornaments, is the unfortunate Europe who, for so many years now, has suffered plunder, outrage, and misery, which are so injurious to everyone that it is unnecessary to go into detail. Europe's attribute is the globe, borne by a small angel or genius, and surmounted by the cross, to symbolize the Christian world."
(Rubens to Justus Sustermans, 12 March 1638)
(Rubens to Justus Sustermans, 12 March 1638)
The Horrors of War was commissioned by Justus Sustermans, a court painter, for the Grand Duke of Tuscany. At the time it was painted, Rubens was nearing the end of his life. During these years of retirement (though Rubens obviously continued to fulfill commissions during this time), Rubens had become more politically active than ever. This painting depicts Rubens general feeling about the recent Thirty Years' War and the political turmoil of the time. As it is noted and implied in Rubens' letter describing the painting to Justus Sustermans, Rubens utilizes a blatantly allegorical portrayal of the state of Europe, and this particular painting is one of his most "politically charged" works. It is obvious that Rubens had a statement to make about the well-being of Europe, and he illustrates it thoroughly with this work.
Every figure in this painting seems to be caught at the height of action which is very characteristic of the Baroque style. Each of the forms demonstrates Rubens love for movement within his paintings, and his use of color emphasizes the dark effects of war which is contrasted with the light surrounding Venus (Goddess of Love) and the Cupids. Each aspect of the painting is positioned and portrayed in a very specific way for a specific reason to help convey the overall theme of the piece.
Every figure in this painting seems to be caught at the height of action which is very characteristic of the Baroque style. Each of the forms demonstrates Rubens love for movement within his paintings, and his use of color emphasizes the dark effects of war which is contrasted with the light surrounding Venus (Goddess of Love) and the Cupids. Each aspect of the painting is positioned and portrayed in a very specific way for a specific reason to help convey the overall theme of the piece.