Acquired in France by Levi Parsons Morton by 1872; sold at the Morton sale in New York in 1882 to Samuel A. Coale of St. Louis; purchased by the MFA from Coale in 1890 for $1,000
“Automedon with the Horses of Achilles” is a massive canvas painting by French painter Henri Regnault who later came to be known for his Orientalist work. However, this painting falls under the genre of mythological history painting. To really understand this particular painting, it is important to know the story behind why it was made in the first place. In 1866, Regnault won the Prix de Rome, the highest honor a young French painter could receive at the time. It came with a scholarship to study at the French Academy in Rome, but the prize came with conditions. As part of the prize, he was required to send finished paintings back to the Academie des Beaux-Arts in Paris every year to show they were making progress. This painting was one of those required submissions, sent back in 1868 while Regnault was still living and working in Rome. The painting shows a scene from Homer’s Iliad. It shows Automedon, the charioteer of the fallen hero Achilles, struggling to control two horses that are wild with grief over their master’s death. It was an unusual choice for the first submission, since students were expected to send back a single nude study rather than a large, dramatic narrative scene like this one as their first required submission. As a brilliant mythological painting it stood out for its scale and ambition.
This artwork by Regnault has an unmatched intensity and a mythological seriousness to it, by design. The backdrop heralds an impending disaster through stormy weather and a tempestuously windy landscape. The magic lies in the dual paradox where Achilles' tragedy gets reflected in his absence while Automedon struggles to rein in the writhing divine horses as they panic with imminent agony. The scene also strangely foretells Regnault's personal tragedy, for little did he or anybody know that he would be killed in action during a siege battle just three years after submitting this painting. The weight of what his career could've been had he been alive and the weight of what Achilles could've done had he not fallen — is what this painting excels at, fortunately and unfortunately.