Achilles onderwezen door Chiron by J. Alexander Janssens

Achilles onderwezen door Chiron c. 1700

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engraving

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pencil drawn

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baroque

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old engraving style

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figuration

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history-painting

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engraving

Dimensions: height 158 mm, width 132 mm

Copyright: Rijks Museum: Open Domain

Curator: Here we have a rather charming engraving by J. Alexander Janssens, created around 1700, titled "Achilles onderwezen door Chiron" or "Achilles Taught by Chiron." Editor: It has a certain classical formality but… there's also something unsettling about the composition. It’s quite striking in its tonal range for an engraving, leaning into darkness in unexpected ways. Curator: I find that contrast intentional, accentuating the emotional weight. The narrative depicts the centaur Chiron, known for his wisdom, instructing the young Achilles. Observe the bow in Achilles's hand – a symbol of the warrior he is destined to become, but here, it feels miniature, almost playful, held by this chubby toddler. Editor: The contrast is stark between that childishness and the presence of the dead boar—death made banal next to childhood innocence. And is that a turtle at his feet? How very symbolic! Curator: Precisely! Chiron represents the synthesis of instinct and intellect, nature and nurture. That turtle at Achilles’ feet may also suggest a symbolic connection to the slowness and wisdom expected in a mentor, who will guide the swift and impulsive hero. Editor: Yes, Chiron's raised finger, a classic gesture of instruction, points upward but almost accuses. And who is the semi-nude figure at Achilles side? Curator: Indeed! That's Thetis, Achilles’s mother. Often portrayed as a sea nymph, immortal, draped loosely. This symbolizes the tension between fate and free will. She is shielding him, though knowledge can't be warded off by divine parentage. Editor: Right. And how baroque, this very staged, rather unnatural pose conveys something about the status of images, these displays of morality for the elite. We look, learn, and perform accordingly. Curator: Indeed. Janssens certainly embeds social and didactic lessons within classical iconography, a perfect marriage of form and content. A commentary on learning, societal expectation, and the burdened innocence of a child’s fate, all caught within this tiny rectangle. Editor: Leaving us with that almost sinister undertone, perhaps the artist asking if instruction can alter a darker path already ordained? Intriguing food for thought.

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