The Goddess Juno entering the Realm of Sleep

Spanish academic painter Luis López Piquer (1802-1865) provides a good example of early 19th-century Spanish mythological painting as he traverses the stages from Neoclassicism to Romanticism. His painting, ‘The Goddess Juno entering the Realm of Sleep’, is an allegory of a classical myth (Ovid’s Metamorphoses) and Homer’s Iliad, in which Juno (Hera) visits the underworld of the god of sleep, Somnus (Hypnos), to ask for his help in lulling Jupiter (Zeus) into sleep. At the top, Juno steps down to a glowing cloud, with Iris, the winged messenger of the gods, carrying a torch. Her attributes are a royal sceptre and her sacred peacocks by her golden chariot. Avoiding too dark and too solid, she is accompanied by airy, pastel-toned floating putti and cherubs. In contrast to the heavenly light above, in the low register Somnus is depicted in deep sleep, lying on a dark rocky hill, with the thick crimson drapery hanging over him. Other animals, such as a dog and a rabbit, lie on the ground, symbolizing deep sleep and quiet. The contrast in light and darkness is dramatic in Piquer’s work, both in the sky and on the earth, with light and dark generating a diagonal pattern. The surrounding light, airy colors around Juno’s head seem to be light yellow and bright gold, while the darker, moodier colors seem to represent the world of sleep below. Luis López Piquer was the son of the famous court painter Vicente López Portaña. López Piquer studied at the Real Academia de Bellas Artes de San Fernando in Madrid under his father and spent time in Paris and Rome, where he picked up the technical precision of his father’s style, but, at the same time, absorbed the wider Romanticism of the continent. He created ‘The Goddess Juno Entering the Realm of Sleep’ at the age of 23, in which he demonstrates his classical drawing skill, spatial orchestration, and aesthetic for painting ceilings (sotto in sù perspective). It was added to the Spanish Royal Collections (Colección Real) and included in the inventory of the Royal Palace of Madrid in 1834. It is an important reminder of Spanish academic art in the 19th-century, when it was incorporated into the collections of the Prado.