In 1619, after several years of study in Rome, Déruet returned to his native Nancy to become the principal painter and decorator to the dukes of Lorraine. He worked in a variety of genres and supervised a busy shop. The awkward but sprightly figures after the antique are typical.
Inscription: Signed (bottom left): DERVET
[Galerie Marcus, Paris, after 1945–68; sold for $4,000 to Kleinberger]; [Kleinberger, New York, 1968–75; bequeathed by Harry G. Sperling, last surviving partner of firm, to MMA]
Pierre Rosenberg. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art. 1982, pp. 243, 351, no. 11, ill. [French ed., La peinture française du XVIIe siècle dans les collections américaines, Paris, 1982].
This painting and its pendant, Departure of the Amazons (1976.100.6), form a set with two pictures in the museum at La Fère. These four works are variants of another set of four pictures by Deruet at Strasbourg, with the compositions in our battle scenes and those at La Fère including more figure groups. Germain Viatte compares the La Fère paintings with a Diana by Deruet at Versailles that can be dated 1627 (see G. Viatte, "Quatre tableaux de Claude Deruet," La Revue du Louvre, nos. 4/5, 1964, pp. 221–26).
The inventory of Deruet's belongings after his death included a number of paintings with Amazon subjects (see Albert Jacquot, Notes sur Claude Deruet, Paris, 1894).