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The judgment of Paris
Luca Giordano·c. 1670
Historical Context
The Judgment of Paris, painted around 1670 and now in the Gemäldegalerie Berlin, depicts the Trojan prince Paris choosing Venus as the most beautiful goddess over Juno and Minerva — a mythological subject that provided a pretext for painting three contrasting female nudes. Giordano renders the scene with the luminous sensuality derived from his study of Venetian masters, particularly Titian, whose treatment of mythological subjects deeply influenced the Neapolitan painter. The subject was among the most popular in Baroque mythological painting, combining narrative drama with opportunities for idealized figure painting. Giordano's version demonstrates his ability to rival the great Venetian colorists while maintaining the dramatic intensity of the Neapolitan school.
Technical Analysis
The three goddesses are arranged to allow comparison of different ideals of feminine beauty. Giordano's warm flesh tones and dynamic figure arrangement bring characteristic energy to this well-worn mythological subject.
Look Closer
- ◆Notice the three goddesses arranged for comparison of different ideals of feminine beauty — Juno, Minerva, and Venus each representing a different type of divine excellence.
- ◆Look at Giordano's warm flesh tones applied to three distinct goddess figures: the same Venetian-influenced palette that served erotic subjects also serves this classical beauty contest.
- ◆Find Paris's position in the composition: the Trojan prince who must choose is positioned as both judge and viewer, his selection bearing the weight of civilization's fate.
- ◆Observe that this Gemäldegalerie Berlin circa 1670 work participates in a tradition that includes Cranach, Rubens, and Watteau — every major European painter tried this subject, using it as a vehicle for displaying female nude figures under classical legitimacy.
