Juan Luna’s painting, previously titled “Hymen, O Hyménée,” has been given a new name in the catty art world gossip. Its owner, Jaime Ponce de Leon, now refers to it as “Jaimen, Oh Jaiménée.” Since its unveiling two weeks ago, people have been captivated by the artwork and curious about its story of acquisition. Contrary to popular belief, the painting was not completed in 1889 but rather a few years earlier. Luna likely began working on it during his Italian honeymoon in December 1886 and finished it in the spring of 1887.
“Hyménée” is one of Luna’s most mature historical paintings depicting life in ancient Rome. Alongside his other works such as “Triclinium,” “Sacrificio romano,” two versions of “Las Damas romanas,” and “Spoliarium,” this piece signifies his transition from the early stages of his career to independent mastery. Painted during a joyful and hopeful time in his fresh marriage, “Hyménée” is rooted in bliss, optimism, and a desire for a happy and fulfilling future.
It’s important to note, especially for those working on a catalogue raisonné on Luna, that this painting has been known under two titles. The Spanish title, “Boda Romana” (Roman Wedding), is derived from a notation in Alfonso T. Ongpin’s photo documentation of Luna’s works, often mistakenly attributed to the “Luis Ma. Araneta photo file.” Interestingly, the absence of the groom suggests that Luna depicted the bridal procession to the bridegroom’s chamber and not the actual marriage. Another painting titled “Triclinium” portrays the happy couple, their marriage consummated, seated on the lectus, toasting to their auspicious future. On the other hand, the French title “Hymen, o Hyménée!” is found in the Paris Exposition catalogues. A newspaper account suggests that both the title and the painting were inspired by a nuptial chant by the poet Catullus.
Regarding the title “Hymen, O Hyménée,” it is important to clarify its meaning. It refers to Hymenaeus, the ancient Greek god of marriage, who was invoked through chant and song as the bride walked in procession to the bridegroom’s chamber to ensure a successful union. The name of the god of marriage is derived from a word that means “to join or sew together,” and it should not be associated with the etymology of a maiden’s private parts.
“Hyménée” possesses all the elements of a 19th-century Spanish school historical painting. Draped nubile women hint at eroticism, while props like laurel leaves, myrtle sprigs, chairs, and architectural details fulfill the requirements for a passing grade. Special effects like chiaroscuro and incense smoke create mood and visual tension. Understanding the course of study in the Spanish academy in Rome, which Luna completed, sheds light on the order followed by young artists. In the first year, they focused on copying Greek and Roman sculpture to learn anatomy. The second year involved studying and replicating classical architecture to understand ideal proportion. Finally, in the third year, students utilized all their acquired skills through practice, travel, and observation to create one large historical painting inspired by religious, classical, or historical texts.
If we were to classify Luna’s 1881 painting “The Death of Cleopatra” as a midterm exam and the 1884 “Spoliarium” as the final or graduation exam, then “Hyménée” from 1887 represents a transitional work. It is one of Luna’s last Roman-themed paintings before he explored greater artistic freedom in Paris and the French school.
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