brunokeff

[brunokeff]

pin coming

[brunokeff]

"Medea an der Urne" by Anselm Feuerbach, 1873

[brunokeff]

-A Roman Art Lover-

[brunokeff]

Hymenaeus Disguised as a Woman During an Offering to Priapus (Nicolas Poussin, 1634-38)

Priapus is a minor fertility god in Greek mythology, traditionally considered the son of Aphrodite and Dionysus, though some myths attribute his parentage to other gods like Zeus or Hermes. He is characterized by his grotesque appearance, often depicted with an exaggerated, permanently erect phallus and a misshapen body, said to be the result of a curse from Hera. Priapus was primarily associated with fertility, gardens, livestock, and male virility, and his image was frequently used as a protective talisman to ward off evil spirits and ensure bountiful harvests. Despite his comical and sometimes vulgar portrayal, he held a significant role in rural and agricultural life, symbolizing the generative forces of nature and the protection of boundaries. His cult was particularly popular in ancient Greece and Rome, where he was venerated in gardens and countryside shrines.

The painting is inspired by a story from Greek mythology involving Hymenaeus, the god of marriage ceremonies, and Priapus, the fertility god. The specific narrative is not directly from a well-known ancient text but rather reflects Poussin's creative interpretation of mythological themes. In the scene, Hymenaeus disguises himself as a woman to participate in a ritual offering to Priapus, likely to avoid detection or to fulfill a specific purpose related to love or marriage. This playful and somewhat mysterious scenario aligns with Poussin's interest in classical mythology and his ability to blend storytelling with allegorical meaning. The painting captures the tension and humor of the moment, showcasing Poussin's mastery of composition and his deep engagement with ancient myths.

The restoration of Nicolas Poussin's *Hymenaeus Disguised as a Woman During an Offering to Priapus* revealed fascinating details about the painting's original composition and the cultural attitudes of later periods. During the restoration process, conservators discovered that the figure of Priapus, the fertility god, had been subjected to a "modesty repaint" in earlier centuries, likely due to changing societal norms regarding nudity and propriety. This overpainting had concealed Priapus's characteristic erect phallus, a key symbol of his role as a deity of fertility and protection. The careful removal of these later additions restored the painting to its original state, allowing viewers to appreciate Poussin's authentic vision and the bold, unapologetic representation of mythological themes. This discovery not only highlights the importance of restoration in uncovering historical truths but also sheds light on how artworks are often altered to conform to the moral standards of different eras.

Medium: oil on canvas

Dimensions: 166,5 x 373 x 6,5 cm

Exhibit in the São Paulo Museum of Art

[brunokeff]

-A greek woman-

[brunokeff]

Prêtresse De Bacchus, 1894 William Bouguereau

[brunokeff]

Alexander Consulting the Oracle of Apollo by Louis-Jean-François Lagrenée

[brunokeff]

Diana and Callisto

Artist: Gaetano Gandolfi (Bolognese 1734-1802)

Date: After 1750

Medium: Oil on canvas

Collection: Private collection, USA

Description

Gaetano's painting illustrates the tragic story of the chaste and vengeful goddess of the hunt, Diana, as she expels from her grotto the nymph, Callisto, daughter of King Lycaon of Arcadia and one of her most devoted companions, after having discovered the nymph's secret pregnancy. As in Ovid's recounting of the tale in the Metamorphoses (2: 442-453), Callisto had been ravished by Jupiter and, deeply ashamed, had tried to conceal her defilement from the goddess. Following the day's hunting, and reluctant to disrobe and bathe, Callisto had her garments torn from her body by her companions, and at the sight of the nymph's swollen belly, Diana, in a fury, punished her with exile.

[brunokeff]

The Birth of Venus by Henri Gervex (1863)

[brunokeff]

Bacchus and Ariadne (Titian, c. 1520-23).

This is part of a mythological cycle painted by Titian and Giovanni Bellini and commissioned by Alfonso d’Este, Duke of Ferrara that includes The Feast of the Gods and The Bacchanal of the Andrians. It originally hung in the studiolo or Camerini d’Alabastro (Alabaster Chamber) of the Duke’s Ferranese castle.

They refer to the story of Princess Ariadne, who, in love with the hero Theseus, helped him to kill the Minotaur at the palace of Knossos on the island of Crete. Theseus then abandoned her while she slept, on the Greek island of Naxos. Distraught, Ariadne was wandering along the shore searching for sight of her lover's ship, when she was surprised by the wine god Bacchus. He had fallen in love with her and asked her to marry him, offering her the sky as a wedding gift, in which one day she would become a constellation. Later, Bacchus throws Ariadne’s crown into the air, immortalising her as the constellation Corona Borealis, represented by the stars above her head.

In one still image Titian captured both intimacy and excitement, the calm and the wild, love, sorrow, the past and the present. The composition is divided diagonally into two triangles, almost signifying the border between the lovers' contrasting worlds. One side is a riot of movement consisting of predominantly green/brown colours. Bacchus' entourage radiates mayhem and music and vigour. Their dynamic stances perfectly enable you to imagine their spirited dancing. The opposite side is a great contrast, the blue sky created by using ultramarine. It is calm and still, except for Bacchus passionately approaching his love – he is leaping from his world to hers.

Oil on canvas, 176.5 × 191 cm. Exhibit in the National Gallery, London.

Sources:

https://artuk.org/discover/stories/write-on-art-titians-bacchus-and-ariadne

https://www.titian.org/bacchus-and-ariadne.jsp

[brunokeff]

Bacchantin, by Ferdinand Leeke

[brunokeff]

An Allegory with Venus and Cupid (Bronzino, c.1545)

A brilliant example of mannerism, which was popular following the art of the High Renaissance in Italy. It is very figurative and uses idealised human forms that often seem to follow the work of Michelangelo, and often uses expressive and unnatural colour. All of Bronzino’s slightly strange characters are representational and allegorical, containing a hidden moral meaning.

The center of the stage is taken by the most beautiful of the goddesses. Venus holds the proof of her status in her left hand, the apple she won in the Judgment of Paris. The slender, boyish body wrapped around Venus is of Cupid, her son. Identified by the wings and strategically positioned quiver. He twists and writhes, but his main focus is on giving pleasure to Venus. Their marble-like, cold skin is mesmerizing and reminds us we’re dealing with gods here, not mere mortals. In the bottom left corner, under Cupid’s foot, you can see a pair of doves, which he seems to be pushing away. Those are a symbol of innocent love, clearly unnecessary here.

Another figure that can be identified with some certainty is the top right-hand side one. The bald, old man has an hourglass perched on top of his shoulder, indicating this may be Time.

Time does not seem directly concerned with what takes place below him, he is completely focused on the figure on the far left. Empty eyes, tragic expression, and missing part of the head. Typically this figure is interpreted as Oblivion, due to the missing part of the brain, symbolizing missing faculty of memory.

Moving over to the front figure, typically identified as Folly. This little boy, throwing rose petals around the mother and child. If you look closer at his foot he steps on rose thorns, one of them actually piercing his foot. Is it just Folly, or is it pushing the boundaries of mania? When the brain is so engrossed with excitement that it does not feel pain.

Another slightly strange character is the girl-monster on the right. She has a sweet face but secretly has scales, a tail and lion’s feet. She's Fraud or Deceit, she also represents pleasure followed by pain, symbolised by the simultaneous holding of honeycomb and sting of a tail. Reminding us that with every pleasure comes pain, but also that perceptions can be threateningly misleading. Love isn’t always safe (again this feeling of unease at the whole situation).

One of the other characters is the man who seems to be in agony on the left, angrily clutching his head. Vasari labelled him Jealousy, but quite a lot of recent research has suggested that he is actually a man suffering from syphilis. Around 50 years before Bronzino painted his masterpiece, syphilis appeared in Europe brought from the New World. It was not treatable, but people clued in early on that it is sexually transmitted (hence the term venereal disease).

Due to this, you could argue that there are two high-level interpretations of this painting, and each of them is a simplification that can be enriched and developed in various directions.

Either it tells about carnal love and the accompanying folly, deceit, and jealousy developing over time, leading to oblivion. Or you can go with hardcore medical interpretation, we have the cause in the center, and around it, symptoms of syphilis developing over time driving the victim mad before they die.

Medium: Oil on wood

Dimensions: 146.1 cm × 116.2 cm

Exhibit in the National Gallery, London.

Sources: https://www.dailyartmagazine.com/painting-of-the-week-agnolo-bronzino-an-allegory-with-venus-and-cupid/

https://historylizzie.co.uk/2016/02/12/an-allegory-of-love-and-time-bronzino-venus-and-cupid/

[brunokeff]

Pandora

Artist: John William Waterhouse (English, 1849–1917)

Date: 1898

Medium: Oil on canvas

Collection: Private collection

Description

The painting is titled Pandora in honor of Pandora, the first woman according to Greek mythology. Created by order of Zeus to introduce all evil into the lives of men, after Prometheus, against divine will, gave them the gift of fire.

The recreated moment is the one in which Pandora is about to open the chest that contained the evils of the human race (old age, illness, passion, poverty and others).

Her curiosity caused everyone except Hope to run away and spread out into the world.

[brunokeff]

[brunokeff]

Title: The Temple of Vesta at Tivoli Artist: Félix Boisselier (French [active in Italy], 1776-1811) Date: ca. 1806 Genre: landscape Medium: oil on paper laid down on canvas Dimensions: 31.5 cm (12.4 in) high x 40.4 cm (15.9 in) wide Location: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA, USA

[brunokeff]

You may have heard about "dos-à-dos" (back to back) book bindings that make one book turn into two, but this is mind blowing!

A 16th-century book that contains no fewer than six different books in a single binding. They are all devotional texts printed in Germany during the 1550s and 1570s (including Martin Luther, Der kleine Catechismus) and each one is closed with its own tiny clasp.

Read more

This is such exquisite craftsmanship. Even not considering the clasps and folds, it’s just so breathtaking. You can view it in more detail on the National Library of Sweden’s Flicker stream.

[brunokeff]

Stephen O'Donnell. Allegory of the Artist d'après Bronzino which is usually titled Allegory of Venus and Cupid.