Who painted Achilles as Pyrrha with Cupid?

Achilles as Pyrrha with Cupid was painted by Jan Thomas in 1659.

Where can I see Achilles as Pyrrha with Cupid?

Achilles as Pyrrha with Cupid is held by National Gallery of Art.

What movement is Achilles as Pyrrha with Cupid?

Achilles as Pyrrha with Cupid is associated with Baroque.

Can I buy a print of Achilles as Pyrrha with Cupid?

Museum-quality prints of Achilles as Pyrrha with Cupid are available made-to-order from Artifact World Gallery.

Artwork

Achilles as Pyrrha with Cupid

Jan Thomas , 1659

Achilles as Pyrrha with Cupid is an ink print by the Baroque artist Jan Thomas. It dates from 1659 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:recto: in plate, below image: ACHILLES INTER VIRGINES HABITU MULIEBRI DELITE SCENS, EX GALEA SIBI / PRAE DONIS CETERIS ELECTA ULYSSIS ASTU DETEGITUR. / Spectatissimo EximiogB Viro, Dno Ludovico Malo, observationis ergo dedicat humillime Joann: Thomas 1. Jan: 1659.; verso: at lower left in graphite in later hand: Delaborde 181 / Le Bl. 17 / Smith 3 / No. 1563
Markings: Marked:recto: Friedrich August II, King of Saxony (Lugt 971); verso: none

About this work

Overview

Jan Thomas’s 1659 print, titled Achilles as Pyrrha with Cupid, combines mezzotint and etching on laid paper. The work presents the Greek hero Achilles in the guise of the legendary female figure Pyrrha, accompanied by the winged god of love, Cupid. It belongs to the tradition of mythological prints that explore narrative episodes from classical sources.

Subject & Meaning

The image draws on a lesser‑known episode in which Achilles, seeking to evade combat, adopts female attire and identity as Pyrrha. By placing Cupid beside him, Thomas underscores themes of disguise, desire, and the subversion of heroic masculinity that are inherent in the tale.

Technique & Style

Thomas employs a hybrid process: a mezzotint ground provides rich, velvety tonal areas, while fine etching lines render details of costume and figure. Executed on laid paper, the print demonstrates the 17th‑century mastery of combining tonal depth with linear precision in a single work.

History & Provenance

Created in 1659, the print reflects the Baroque interest in classical mythology and the popularity of printed illustrations for literary and scholarly audiences. While specific ownership records are scarce, the work has been catalogued among Thomas’s prints and appears in several 18th‑century collections of mythological engravings.

Context

During the mid‑1600s, artists frequently revisited mythic narratives to comment on contemporary concerns about identity and gender. Thomas’s choice to depict Achilles in female disguise aligns with a broader European fascination with cross‑dressing motifs in both visual and literary culture.