In 1636, Peter Paul Rubens received a grand commission from Philip IV of Spain to create a series of mythological paintings for the Torre de la Parada, the royal hunting lodge near Madrid. Among these was Clytia (Ovidius, Metamorfosen, IV, 256-270), 1636-, a work that stands out for its rare choice of subject: the tragic nymph Clytia, seldom depicted in art compared to other figures from Ovid. Rubens’ fascination with transformation myths and his ability to breathe life into ancient stories found a perfect vehicle in this painting, which was likely intended to both delight and instruct the king’s court. Rubens chooses the moment when Clytia, consumed by jealousy and grief, sits exposed and forlorn, her gaze fixed on the sun god Apollo, who has abandoned her for another.

According to Ovid, Clytia wastes away for nine days, her body rooted to the earth as she slowly transforms into a heliotrope, forever turning toward the sun. In the painting, her bare shoulders and wild hair evoke vulnerability and longing, while the upward tilt of her head and the golden light bathing her face hint at her eternal fixation on Apollo. The lush, swirling brushwork and sensuous flesh recall Rubens’ earlier mythologies, yet the emotional isolation of Clytia sets this work apart from, for example, Claude Lorrain’s more idyllic mythological scenes, where nature and figures merge in harmony. The original painting, created for the Spanish crown, was part of a larger decorative scheme that brought together the talents of Rubens and his workshop.

While the precise medium is not specified, Rubens’ paintings for the Torre de la Parada were typically executed in oil on canvas. Over the centuries, many of these works were dispersed or damaged, but Clytia survives as a testament to Rubens’ narrative power and his enduring appeal at the Spanish court. Today, it remains in the Museo del Prado, where it continues to intrigue viewers with its rare subject and the palpable intensity of its storytelling.