Tom Hasson on Sussex’s rarely seen treasures #1: The Judgement of Paris

Usually found within the archives of the Brighton & Hove Museums’ collection, The Judgement of Paris (1930) by Ithell Colquhoun is poised for its moment in the spotlight.

This enigmatic painting, a reinterpretation of one of Greek mythology’s most enduring stories, will take centre stage in 2025 at the Tate St Ives and Tate Britain exhibitions dedicated to Colquhoun’s groundbreaking career.

Colquhoun (1906-1988), often described as the ‘high priestess of British surrealism,’ used The Judgement of Paris to challenge traditional notions of beauty, gender, and power.

Her approach to the myth is both innovative and subversive, offering a feminist critique of its themes.

The story of The Judgement of Paris is a cornerstone of Western mythology. Following a slight in which Eris, the goddess of Strife, isn’t invited to a wedding, she throws among the guests a golden apple inscribed ‘to the fairest’.

Zeus, King of the Gods, refuses to make the choice and so it falls to Paris, a shepherd and heir to the Trojan throne (though that’s a different story), to decide which of three goddesses – Aphrodite, Athena, or Hera – is the most beautiful. Each goddess attempts to bribe Paris to sway his judgement, with him eventually awarding the golden apple to Aphrodite, who had promised him the love of Helen of Troy. It’s this fateful choice that leads to the Trojan War.

The tale has long appeared to celebrate male authority over female worth, reducing the goddesses to objects of male desire. Colquhoun’s The Judgement of Paris upends this narrative. She reframes the myth to emphasise the goddesses’ agency and undermine the patriarchal gaze.

The painting’s dreamlike composition dissolves the boundaries between the mortal and divine. Colquhoun’s intricate symbolism invites viewers to question the nature of judgement, power, and desire. Unlike classical depictions, where Paris stands as the central arbiter, Colquhoun shifts focus to the goddesses, transforming them into enigmatic figures of strength and mystery.

The Judgement of Paris remains one of the most significant works in Colquhoun’s oeuvre. By reinterpreting the myth, she underscores the limitations placed on women in both mythological and modern contexts.

The painting’s layered meaning is complemented by Colquhoun’s personal writings, in which she described her interest in breaking down conventional power structures.

‘Myth comes from the region between sleeping and waking, the multitudinous abyss, the unceasing cauldron rimmed with pearls,’ she wrote in 1943’s The Water-stone of the Wise.

‘If we let it pour out unhindered, we shall be free to plunge into its depths. What shall we find there, far from “lordship and bondage?”’ Her hope is ‘No more tyrants and victims.’ Colquhoun’s choice to depict the goddesses as both otherworldly and grounded challenges viewers to reconsider their preconceptions. None of the goddesses are looking at Paris. In fact, they are looking above and beyond him while he looks to the floor. Not only are they uninterested in his judgement, he’s cowed by their presence and strength.

Aphrodite, Athena, and Hera are resplendently painted by Colquhoun, their movement taking them from right to left, rather than the traditional left to right. Athena is heading to battle with spear, shield and helmet at the ready; every bit the goddess of warfare. Aphrodite sits astride a goat, a symbol of lust, while wearing the mythical girdle that inspires passion and desire, one foot over a tortoise – telling us that she doesn’t need to move slowly to be sure. Hera is seated on a chariot pulled by two peacocks, seemingly about to barrel down upon Paris.

The golden apple, usually seen gleaming, here is deprived of its splendour. The object that gave Paris permission to judge the goddesses is instead barely noticeable; it’s hidden in Paris’ hand, shrouded as he is with none of the light that shines upon the goddesses. This painting is an invitation to question rather than to resolve. Throughout her career, Colquhoun pushed boundaries not only in her art but also in her exploration of occultism, automatism, and feminist thought. Her artistic peers, including Salvador Dalí and Leonora Carrington, often drew upon classical mythology, but Colquhoun’s work stands apart in its esoteric symbolism and pointed critique of patriarchal narratives.

In 2025, The Judgement of Paris will feature in the Tate exhibition Ithell Colquhoun: Between Worlds, beginning at Tate St Ives and then travelling to Tate Britain. These exhibitions will delve into her career as an artist, across multiple disciplines and mediums, shedding light on her role as a pioneering artist who defied categorisation; offering a chance to engage with an artist whose work remains underappreciated despite its bold originality.

Alongside The Judgement of Paris, another Colquhoun work in Brighton & Hove Museums’ collection entitled Interior will also be on loan as part of the Tate shows. And although these works will temporarily leave Brighton & Hove Museums’ collection, its upcoming showcase on the national stage is an opportunity to celebrate Colquhoun’s connection to Sussex.

A further association Colquhoun has with the county is her connection to Roland Penrose – husband of Lee Miller – who called Farleys in Chiddingly his home. In 1939 Colquhoun and Penrose held a joint show at the Mayor Gallery in London that saw both of the artists explore Surrealism in new and unique ways.

Unique explorations are what Ithell Colquhoun’s works are all about. They are imbued with timeless questions, inviting viewers to explore the intersections of myth, feminism, Surrealism, and more. In The Judgement of Paris, Colquhoun offers not just a painting but a challenge: to rethink the narratives we inherit and the values we place on beauty, power, and art itself. It is a testament to Ithell Colquhoun’s status as a trailblazer. Her work resonates deeply with contemporary themes of gender, identity, and spirituality, proving her relevance not only in her mid- 20th-century context but also in our current era. The Judgement of Paris, in particular, encapsulates her innovative vision, inviting modern audiences to rediscover and re-engage with her profound artistic legacy. When the painting returns to Sussex, it will carry with it the stories and interpretations inspired by its time on the national stage. For now, it reminds us of the untapped treasures in our local collections, waiting to be discovered by curious minds willing to look a little closer.