Peter Paul Rubens (1577-1640),Three Nymphs with a Cornucopia, c. 1625–8, Oil on oak, 30.9 x 24.4 cm, Dulwich Picture Gallery, London
This small painting, held in the Dulwich Picture Gallery in London, served as a preparatory modello for the larger painting now in the Museo del Prado, Madrid. The modello offers a rare glimpse into Rubens’s working methods, revealing his process of refining ideas before committing them to larger compositions. Its iconography draws on classical mythology, specifically the imagery of the cornucopia, or ‘horn of plenty’. This symbol, rooted in Ancient Greek myth, is associated with the tale of the river god Achelous, whose broken horn was filled with fruits and flowers by nymphs, signifying abundance and fertility.
Rubens’s career during this period was strongly influenced by his close relationship with Isabella Clara Eugenia (1566–1633), Infanta of Spain and Governor of the Spanish Netherlands. As a major patron, she supported his artistic endeavours and entrusted him with diplomatic missions, recognising his potential to serve both artistic and political ends. Following the death of her husband, Archduke Albert VII (1559–1621), Isabella’s patronage became crucial in shaping Rubens’s career trajectory.
In 1628, Isabella facilitated Rubens’s journey to Madrid, covering the costs of several works he presented to her nephew, King Philip IV of Spain (1605–1665), upon his arrival. This gesture reflected her confidence in Rubens’s ability to impress the Spanish court. Her judgement proved correct, as Rubens’s works were highly praised.
