Hercules and Omphale is an oil on canvas painting by French painter François Boucher. Painted in 1732–1734, the painting depicts a mythological tale of Hercules being sold as a slave to Omphale, queen of Lydia, for three years because of murdering his friend Iphitus. Hercules is later alleviated from this as Omphale makes him her lover.

Boucher's interpretation of the Hercules and Omphale myth represents a departure from more conservative depictions prevalent in earlier periods. By emphasizing the sensual aspects of the myth rather than its moral dimensions, the painting exemplifies the Rococo style's embrace of intimacy, pleasure, and decorative richness. The work showcases Boucher's skill in creating compositions that balance classical subject matter with contemporary French tastes of the early 18th century.

Provenance

After its creation in the 1730s, the painting eventually became part of the Yusupov family collection in Saint Petersburg, where it remained until 1930. Following the Russian Revolution and subsequent nationalization of aristocratic art collections, it was transferred to the Pushkin Museum in Moscow, where it remains on display today.

We can see that Hercules is more effeminate within this painting in contrast to various other interpretations of him which usually depict him radiating an abundance of machismo, think of the painting of Hercules Vanquishing Diomedes by Charles Le Brun which embodies this ethos. However, François Boucher differentiates himself significantly from the traditional perspectives of Hercules, it shows elements of Jungian archetypes, the dance between the Anima and Animus evident in their abundance of sexual energy, further evident in the state of the bedroom which is in a state of disorder and disarray, highlighting the passion of their love, crimson drapery is spilling around the bed, and onto the rococo-style table and toppling ornaments further signifying the sexual passion.

Transgression

Boucher’s portrayal of the classic tale is quite transgressive and radical as it swiftly subverts the traditional narrative commonly showcased throughout history as the sexual tension of their libido is completely uninhibited moreover, Boucher further subverts the traditionalism as Hercules is not the colossus machismo commonly seen, instead he is barely able to grow into his beard and is portrayed with a lusty youthfulness evident in the intention behind Bourcher’s painting style which is one of pure spontaneity accompanied by an abundance of sexual energy.

Within the painting we can see the state of the room highlights the sexual tension and passion between Omphale (Queen of Lydia) and Hercules (the most powerful of the gods).

Painting Corrections

Boucher made several corrections and tweaks to this painting Boucher’s decision to drape the lovers underneath a canopy of red velvet may have been a late one, as the undraped cord actually continued along the upper edge of the canvas and more of the medallion’s circular frame could be viewed.

This painting features some key influences which aid in the overall direction of the work:

• Key influence Omphale’s slung over leg: Caracci’s Hercules and Iole (in the Farnese  Gallery Ceiling)
• Key influence of the kiss: bronze medallion of Salmacis and Hermaphroditus
• Key influence Hercules's immodest embrace of Omphale’s right breast: de Troy’s Mars & Venus etched by Caylus