List of Works C Painter André Racz (Greek, Attic, active c. 575–555 BC) (American, b. Romania, 1916–1994) After Giovanni Jacopo Caraglio Siana Cup, 560–550 BC Perseus Beheading Medusa, VIII, 1945 Teaching Gallery Fall 2014 3 5 1 1 (Italian, c. 1500/1505–1565) Terracotta, 5 /8 x 12 /8" Engraving with aquatint, 7/25, 26 /8 x 18 /4" After Rosso Fiorentino Gift of Robert Brookings and Charles University purchase, Kende Sale Fund, 1946 (Italian, 1494–1540) Parsons, 1904 Mercury, 16th century (after 1526) Marcantonio Raimondi 1 Pen and ink wash on paper, 10 /8 x 8" CA Painter (Italian, c. 1480–c. 1530) Gift of the Washington University (Greek, South Italian, Campanian) After Raphael Department of Art and Archaeology, 1969 Bell Krater, mid-4th century BC (Italian, 1483–1520) 1 5 Terracotta, 17 /2 x 16 /8" Judgment of Paris, c. 1517–20 3 15 After Gustave Moreau Gift of Robert Brookings and Charles Engraving, 11 /8 x 16 /16" Picturing Narrative: Greek (French, 1826–1898) Parsons, 1904 Gift of J. Lionberger Davis, 1966 Jeune fille de Thrace portant la tête d’Orphée (Thracian Girl Carrying the Alan Davie School of Orazio Fontana Mythology in the Visual Arts Head of Orpheus), c. 1865 (Scottish, 1920–2014) (Italian, 1510–1571) 1 1 Oil on canvas, 39 /2 x 25 /2" Transformation of the Wooden Horse I, How Cadmus Killed the Serpent, c. 1540 7 5 University purchase, Parsons Fund, 1965 1960 Maiolica, 1 /8 x 10 /8" 1 1 Oil on canvas, 60 /8 x 72 /4" University purchase, Elizabeth Northrup After Marcantonio Raimondi Gift of Mr. and Mrs Richard K. Weil, 1963 McMillan Fund, 1967 (Italian, c. 1480–c. 1530) Apollo Belvedere, from Speculum Diosphos Painter Terpaulos Painter Romanae Magnificentiae( Mirror of (Greek, Attic, active c. 500–475 BC) (Greek, Attic, active c. 530–320 BC) Roman Magnificence), 1552 Lekythos, 500–490 BC Trefoil Oinochoe, 500–490 BC 3 15 1 1 1 3 Engraving, 11 /8 x 16 /16" Terracotta, 7 /2 x 2 /8" Terracotta, 9 /2 x 5 /4" Published by Antonio Lafreri (French, Gift of Robert Brookings and Charles Gift of Robert Brookings and Charles c. 1512–1577) Parsons, 1904 Parsons, 1904 Gift of the Art and Archaeology Department, She found Helen in the hall, where she was weaving a Washington University, 1980 Raoul Dufy Unknown (French, 1887–1953) (Greek, Attic) great purple cloth of double width, showing the many Jirˇí Anderle Aphrodite aux papillons (Aphrodite Squat Lekythos, early 4th century BC 3 1 (Czech, b. 1936) with Butterflies), c. 1938 Terracotta, 5 /8 x 2 /2" 1 After Michelangelo Merisi da Watercolor on paper, 19 x 25 /8" Gift of Robert Brookings and Charles battles the Trojans, tamers of horses, and the bronze-clad Caravaggio Gift of Charles H. Yalem, 1963 Parsons, 1904 (Italian, 1571–1610) Bacco (Bacchus), 1982 Eleusinian Painter (?) Greeks were suffering for her sake at the hands of Ares. Soft-ground etching and drypoint, 53 / 70, (Greek, Attic, active 4th century BC) Coins 1 26 x 19 /2" Vase Fragment, mid-4th century BC 1 3 Gift of Mr. and Mrs. Joseph Tucker, 1986 Terracotta, 8 x 7 /2 x 1 /4" Minted in Damascus (Macedon) Homer, Iliad 3.125–128 Gift of Robert Brookings and Charles Silver Tetradrachm of Alexander III, Athena Painter Parsons, 1904 330–319 BC (Greek, Attic, active c. 500–475 BC) John Max Wulfing Collection, Washington Lekythos, 525–500 BC Long-Nose Painter University in St. Louis 1 Terracotta, 12 x 4 /8" (Greek, Attic) Gift of Robert Brookings and Charles Neck Amphora, 540–525 BC Minted in Naxos (Sicily) 1 3 Parsons, 1904 Terracotta, 20 /8 x 10 /4" Silver Drachma, c. 461–430 BC Gift of Robert Brookings and Charles John Max Wulfing Collection, Washington Romare Bearden Parsons, 1904 University in St. Louis (American, 1911–1988) The Greek word mythos means literally “story,” texts, and visual artists up to the present have Black Venus, 1968 Pablo Picasso Minted in Rome (Roman Empire) and Greek mythology is inherently a product of continued to express a wide range of ideas and Collage of printed, colored, and painted (Spanish, 1881–1973) Bronze Dupondius, 145–161 AD 3 3 papers pasted on paper, 29 /4 x 40 /16" Satyr’s Head, 1949 John Max Wulfing Collection, Washington words, first handed down orally, then in written emotions through their versions of Greek myth. University purchase, Charles H. Yalem Art Painted and glazed terracotta, University in St. Louis 1 3 7 works. Yet some of our most interesting presen- This exhibition examines how visual artists have Fund, 1994 15 /4 x 12 /4 x 1 /16" University purchase, Elizabeth Northrup tations of Greek myths, both in antiquity and in captured individual moments in Greek myths, McMillan Fund, 1954 the modern world, are not words but images. have drawn from mythology to create vivid scenes, Portrayals of myths on ancient Greek vases are and have presented widely varied views of Greek often strikingly different from the myths in written mythological characters.

This Teaching Gallery exhibition—on view September 12, 2014, to January 4, 2015—is curated by Timothy J. Moore, John and Penelope Biggs Distinguished Professor of Classics and chair, Department of Classics in Arts & Sciences at Washington University, in conjunction with his course “Greek Mythology,” offered in fall 2014. Among the most influential Greek myths are national hero of Athens who was often compared to the mythological imagery pervaded Greek life. Each restrained lives of many Greek women, they took part those surrounding the Trojan War. Sixteenth-century non-Athenian Heracles, fights the half-bull, half-man includes a nude male figure in what appears to be a in wild revelries in honor of Dionysus. The maenad on Italian printmaker Marcantonio Raimondi, copying Minotaur with his bare hands. The inscription over the scene of departure. Male nudity in ancient Greek art an early fifth-century-BC oinochoe (a wine jug) painted a painting by his contemporary Raphael, depicts the Heracles scene reads TIMOTHEOS KALOS (Timothy Is suggested heroic or divine status. One is left to wonder by the Terpaulos Painter is in the midst of such revelry. moment that set the war in motion. The Trojan prince Beautiful). We do not know who Timothy was or why the whether these figures are heroes from mythology or Dressed in a cloak made from a deer’s hide (complete Paris, bribed by Aphrodite with a promise of Helen, inscription is on the vase. contemporary men, made heroic in appearance to with legs) and carrying an ivy-topped wand called a the world’s most beautiful woman, gives the golden A maiolica bowl painted in the sixteenth match their mythological models. thyrsus, she appears to be leading a dance. apple destined “for the most beautiful” to Aphrodite century from the Italian School of Orazio Fontana Few Greek myths have been more popular The exhibition also includes three coins from rather than to her rivals Hera and Athena. Raphael shows how the hero Cadmus killed a dragon, then let among visual artists than the story of Orpheus, the Washington University’s John Max Wulfing Collection. A and Marcantonio emphasize the momentousness of warriors sown from the dragon’s teeth fight amongst musician who could charm wild beasts and even fifth-century BC coin from the town of Naxos in Sicily Paris’s decision by surrounding the central figures with themselves before he founded the city of Thebes. The stones but could not bring his wife Eurydice back from shows an ivy-wreathed Dionysus on the obverse, an numerous divine and semidivine observers, including visual medium allows the artist to do what a storyteller the underworld, and who eventually was murdered by awkwardly squatting satyr on the reverse. A coin of Zeus, king of the gods. Twentieth-century Scottish or writer cannot, showing several moments in the story frenzied women in Thrace. A painting after the nine- Alexander the Great minted between 330 and 319 BC painter Alan Davie looks to the war’s end. Warriors at once: we see the dragon still alive, the scattered teenth-century French artist Gustave Moreau adds a includes Heracles, wearing the skin of the lion he killed, emerge from a colorful Trojan horse to destroy Troy, teeth, the warriors, and in the distance the yet-to-be- moment not found in any written version of the myth: on the obverse and Zeus on the reverse, associating the emphasizing how disastrously deceptive the seemingly founded city of Thebes. a Thracian girl holds Orpheus’s severed head and lyre Greek world’s greatest warrior with its greatest mytho- benign can be. Twentieth-century American artist André after the murder. The female figure recalls both the logical hero and its greatest god. A Roman coin minted Homer’s Iliad, which described many of the Racz (born in Romania) portrays the hero Perseus when tragic Eurydice and, ironically, the other Thracian between 145 and 161 AD reveals that the connection of events of the Trojan War, includes scenes in which the he has just beheaded the Gorgon Medusa. The 1945 women who killed the musician. Aphrodite with fertility goes well beyond just sexuality. gods themselves join mortals in combat. On a lekythos engraving has been seen as an allegory for the allied Aphrodite (Roman Venus), the goddess of love, On the obverse is Faustina, wife of the Roman emperor (a narrow jar used for holding oil) of the early fifth victory in World War II. If so, the image is surprisingly has fascinated artists since antiquity as a symbol of Marcus Aurelius. She is the mortal representation of the century BC the Diosphos Painter painted what may ambigous: Perseus seems the more sinister of the two love, sexuality, and feminine beauty. A rather crudely very dignified Venus Genetrix, or Venus the life-giver, be a scene similar to those described by Homer. The figures, Medusa’s hair looks more like foliage than her painted lekythos from an unknown artist in the early portrayed on the reverse. goddess of war, Athena, rides a chariot amidst warriors trademark snakes, and Perseus looks directly at the fourth century BC, like many portrayals of the goddess, on foot. Homer also includes a number of duels between severed head, in contrast to the written tradition that places the viewer in the position of a voyeur, observing individual warriors. A Siana cup (a shallow drinking cup) claims anyone looking at Medusa would turn to stone. the nude Aphrodite washing her hair. Across from Timothy J. Moore painted by the C Painter in the mid-sixth century BC A print from Antonio Lafreri’s Speculum her on the vase is her son Eros, the god of desire. John and Penelope Biggs Distinguished Professor shows two such warriors, portrayed identically on each Romanae Magnificentiae(1552) shows one of the most French painter Raoul Dufy follows yet another tradi- of Classics side of the vase (the Chimera inside the cup, part lion famous sculptures from antiquity, the Apollo Belvedere, tion in portraying Aphrodite at her most ethereal. Like Arts & Sciences and part goat, is a famous mythological monster). a Roman copy in marble of a Greek bronze statue. The the butterflies above her, Dufy’s twentieth-century Washington University Two of the exhibition’s Greek vases show the god Apollo is in a moment of triumph. The snake on the Aphrodite seems to transcend the mundane. African first and last of Heracles’s twelve labors, respectively. tree trunk hints that he has just slain the dragon Python American artist Romare Bearden, on the other hand, Both, intriguingly, show Heracles with Hermes, a god not at Delphi, which would become the god’s most impor- brings Aphrodite down to earth, in a scene reminiscent often associated with the hero. By including Hermes, tant sanctuary. of the music-filled world of New Orleans. the god of cleverness, the artists may have wished to A sixteenth-century drawing after a print by The god Dionysus (Roman Bacchus) is another stress the need to combine brawn with brains. On a the Italian engraver and goldsmith Giovanni Jacopo powerful mythological archetype, symbolizing the lekythos painted by the Athena Painter in the early fifth Caraglio shows Hermes (Roman Mercury) after he has simultaneous freedom and danger that comes from the removal of everyday restraints. Twentieth-century century BC, Heracles attacks the Nemean lion while killed the monster Argus. In written versions of the For a summary of the myths discussed here, visit Hermes seems to look away. On one side of an amphora myth Argus has one hundred eyes, and Hermes puts Czech artist Jirˇí Anderle, appropriating a famous http://bit.ly/1xrQmEb (a large storage jar) painted by the Long-Nose Painter him to sleep either by telling a long story or playing the painting by Caravaggio, shows Dionysus as a sensuous in the third quarter of the sixth century BC, Heracles panpipes. Here Argus has just two eyes, and Hermes youth, enticing the viewer but with an impish look that is again with Hermes, but this time Hermes seems to plays the double-piped aulos, an instrument known seems to spell trouble. Dionysus’s standard followers, have done all the work. The god appears to caress a more for its ability to excite than for its sleep-inducing goat-like satyrs and female maenads, have been equally remarkably docile Cerberus (the dog who guards the qualities. popular in art. Pablo Picasso produced a number of underworld, shown here with only two heads instead Two of the exhibition’s vases, a bell krater images of satyrs, one of which is included here. The of his usual three), while Heracles stands behind and (a large vessel used for mixing wine), painted by rule-breaking satyr, with its large ears, red beard, and Hades and Persephone, king and queen of the under- the CA Painter in the fourth century BC, and a frag- intent expression, expresses well the artist’s own joy world, look on. There may be some Athenian chauvinism ment of another fourth-century-BC vase, probably in flouting the conventional. Maenads are even more here, for on the reverse side of the vase Theseus, the by an Eleusinian painter, reveal the degree to which potent symbols of release: in contrast to the usually