Intern Pick: The Entrance of the Wooden Horse into Troy (1598), Gillis Van
Written by Maia Tsabary
Published on January 29, 2025
My continuous research into various perspectives on classics led me to The Entrance of the Wooden Horse into Troy (1598) by Gilles Van Valckenborch. It is a painting which immediately stood out to me due to the contrast of events occurring. The way in which these scenes contradict each other provoked me to further analyze this painting in a deeper view, and challenge my past sentiments regarding this moment in history. This painting depicts, arguably, one of the most recognizable scenes of the Trojan war to both historians and the casual viewer, the entrance of the Grecian wooden horse into Troy. Yet, it is a depiction that is quite unusual as one would assume that Trojans would be engaged in more humble activities due to the state of their war-torn city . Part of the Art of Europe collection, this vast, layered landscape achieves both a balance and contrast of unknown, impending doom and abundant prosperity. The Trojan Horse is shrunk away outside of the viewer's immediate gaze, faced towards the looming black sky, while the central scenes depict a myriad of affluent recreation. This illusion remains unspoken yet clarified as facial descriptions, color palettes, and composition lead the viewer to form their own conclusions
The invention of the Trojan Horse marked an undeniable use of ingenuity by the Greeks to ambush the city of Troy. Presented as a peace offering by the Greeks to the Trojans, the colossal wooden horse disguised Greek soldiers hiding inside. The bewildering and overwhelming illusion disconcerted the war-worn citizens of Troy. And viewers know well how the story ended – the Greek soldiers were able to get inside the walls of Troy and ambush the city form inside, finally resolving the decade-long conflict.
The artist Gilles Van Valckenborch was born in Antwerp, Belgium but spent the majority of his life in Frankfurt, Germany and it is believed he had traveled to Rome in 1595. Valckenborch frequently painted notable characters and scenes from Greek and Roman mythology often involving a landscape, showcasing his knowledge of the subject. Valckenborch was born into a family of artists and was professionally trained by his father, Marten van Valckenborch. His work was distinctively different from his lineage, as Valckenborch embraced the Mannerist painting style. This style is marked by the use of asymmetry and an unbalanced distribution of imagery. Mannerist paintings aimed to invoke a sense of discomfort within the audience, since viewers are naturally more comfortable with symmetry and balance. Valckenborch utilized these Mannerist principles to distort and interrupt the convenience of harmony often presented to viewers. Some ways in which this is presented is through the off-center obelisk, dark clouds drawn to the upper right-hand corner, and empty space in the left-center.
Valckenborch allows viewers to step into his rendition of this scene, painting Trojans as utterly unconcerned with their imminent downfall. They are depicted in colorful, lavish clothing, engrossingly preoccupied with plentiful food and drink. Alongside this apparent display of wealth, Valckenborch includes intangible features of wealth in his inclusion of literature and instruments. Blank facial expressions and disconnected eye contact also highlight this ignorance towards their fate. These details heighten the experience of the viewer due to their knowledge regarding the Trojan Horse. The clear revelry of the Trojan citizens can stir feelings of anxiety and unease which provides an opportunity for elevated engagement with the painting.
Valckenborch utilizes composition to emphasize Trojan ignorance. In the foreground he paints a group of affluent revelers at a larger scale while depicting the Trojan Horse on the far-right hand side and receding into the distance, an artistic choice that minimizes the great threat of the Trojan Horse. This ironic use of scale (people as large and foreground while the disastrous horse is smaller in the background) deepens the lack of awareness in the crowd. The City of Troy is blissfully unaware of their approaching cataclysm. Valckenborch’s use of composition emphasizes this inattentiveness, a method that provokes intense feelings of concern and uncertainty within the viewer.
References:
Bannard, D. et al (2006) Lowe Art Museum: Selected Works. Lowe Art Museum, University of Miami. The Art of Europe (p. 38).
“The Entrance of the Wooden Horse into Troy” (n.d.) University of Miami Lowe Art Museum. https://emuseum.as.miami.edu/objects/9190/the-entrance-of-the-wooden-horse-into-troy?ctx=4401764430121012f2d19724f251aab6a5ba23ad&idx=24
“Gillis van Valckenborch.” Sothebys.com, www.sothebys.com/en/auctions/ecatalogue/2014/old-master-british-paintings-l14030/lot.733.html.
Mannerism, www.nga.gov/features/slideshows/mannerism.html.
