Hercules en Cerberus 1679 - 1728

Curator: Ah, Hercules in the Underworld... I find this print, Hercules en Cerberus, from sometime between 1679 and 1728 and attributed to Jean-Baptiste de Poilly, rather compelling. Editor: My goodness, it has such an intensity! The drama practically leaps off the paper, doesn't it? Is this more than just a heroic figure? Curator: Well, look at Hercules. Poilly captures him from the back, so stoic, almost weary. He’s got his club over his shoulder, that heavy musculature rippling with fatigue. It's a study in strength, not just physical but also of will. And what is more Baroque than a strong muscular guy with his doggie... or dogs in this case! Editor: True, the Cerberus! Talk about your symbolic guard dogs. The artist gives Cerberus a wonderfully menacing personality here! Every head snapping, teeth bared... The tension between control and barely contained chaos... That dog personifies hell itself! I also find this landscape pretty depressing. Curator: You’ve hit upon something. Historically, three-headed dogs guarding the underworld is one hell of a metaphor, if you’ll pardon the pun. The psychological layers here are potent, speaking to primal fears but also, you know, how you can make something ferocious if it defends the way to your place... Editor: Defending the place of souls, if you take the Cerberus symbol literally. As an icon, Cerberus isn't just some wild beast but this embodiment of the point of no return. Looking at this baroque interpretation makes one wonder what's waiting in this afterlife. But what can we say about Hercules here? The guy in the artwork. I love this man's body but it would be good to learn something more about this strong guy! Curator: Ah, to see someone go beyond! Hercules, as captured in the image, faces the monster but not really, he goes on, seemingly undisturbed. I wonder how it feels for Hercules, on the other hand... perhaps he faces challenges within himself? You know that for some people that internal Cerberus may be stronger than that of the exterior. Editor: That's it, and a valuable closing thought. I'll look at Poilly's print differently, I can tell you that! Thanks! Curator: Thank you too for accompanying me in front of such an iconographic piece!