The Feast of Herod (recto) Tomyris with the Head of Cyrus (verso)

The Feast of Herod (recto) Tomyris with the Head of Cyrus (verso) is a powerful double-sided preparatory drawing created by Peter Paul Rubens between 1637 and 1638. This specific work, classified as a drawing, utilizes pen and brown ink alongside black and red chalk, expertly touched with white gouache highlights to refine forms and suggest dramatic lighting. The Belgian master often used such detailed studies to explore composition and narrative tension before committing to large-scale oil paintings.

The dual subjects illustrate Rubens’s wide-ranging interest in history and dramatic action. The recto depicts the grisly Biblical narrative of The Feast of Herod, likely showing the moment Salome presents the severed head of John the Baptist on a platter. The verso shifts to classical history with Tomyris with the Head of Cyrus, a scene of violent retribution involving the Queen of the Massagetae. Rubens employed chalk and ink not only for rapidly outlining figures and architectural elements but also for developing the volumetric complexity and massing, typical of his late Baroque style. The skillful application of white gouache suggests final lighting effects, giving the study a finished quality.

As a foundational figure in Flemish Baroque art, Rubens’s detailed drawings are crucial documents showing his artistic process and mastery. This piece reflects the dynamism and theatrical energy characteristic of art produced in Belgium during the 17th century. The original study resides within the esteemed collection of the Cleveland Museum of Art. The historic importance of preparatory works like this means that high-quality prints often enter the public domain, allowing students and scholars worldwide to examine the technical genius of Rubens.