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The Baptism of Achilles, published in Le Charivari, 28 August, 1842 (litho)
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The Baptism of Achilles, published in Le Charivari, 28 August, 1842 (litho)
XJF741267 The Baptism of Achilles, published in Le Charivari, 28 August, 1842 (litho) by Daumier, Honore (1808-79); Private Collection; (add.info.: Achilles mother, Thetis, dips Achilles in the river Styx, in the story which explains the the origin of the Achilles tendon. From a series of 50 caricatures on classical ancient history and mythology published between 1841 and 1843 in which Daumier mocked the traditional academic and neo-classical school of art and representations of ancient Greek and Roman subjects. Le Baptme d Achille: Comme on trempe une arme de guerre, /Thetis de son moutard voulant faire un heros, /Le trempa dans le Styx dís qu il vit la lumiíre; / Ce qui prouve qu un bain est bon A tout propos (De l influence des bains, Poíme par Mr Vigier)); French, out of copyright
Media ID 12934233
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Achille Achilles Crab Critique Horrible Lampooning Mockery Parody Styx Tendon Thetis
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The Baptism of Achilles
EDITORS COMMENTS
is a lithograph print created by Honore Daumier in 1842, published in Le Charivari. This satirical artwork forms part of a series of 50 caricatures on classical ancient history and mythology, where Daumier humorously mocks the traditional academic and neo-classical school of art. In this particular scene, we witness Thetis, the mother of Achilles, dipping her son into the river Styx. According to Greek mythology, this act was believed to grant invincibility to Achilles except for his heel—the origin story behind the famous Achilles tendon. Daumier cleverly parodies this mythological event by depicting it as a comical baptism. The lithograph captures Thetis holding her "moutard" or little mustard seed (a playful term for her son), while she submerges him in the Styx. The exaggerated expressions on their faces add an element of humor to the scene. Additionally, a crab scuttles nearby—a nod to another tale involving Achilles and a giant crab during his infancy. Daumier's intention with this artwork was not only to entertain but also to critique and lampoon the prevailing artistic styles that glorified ancient Greek and Roman subjects. Through his humorous approach, he challenges the seriousness associated with classical art while highlighting its absurdities. This lithograph exemplifies Daumier's mastery in combining satire with historical references. It serves as both an amusing parody and an insightful commentary on society's obsession with heroic figures from antiquity.
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