18. William Blake 21. Thomas Burke 24-35. Lovis Corinth Plate XI 42. Arthur Fauser 47. Günter Haese 61. Burkhard Mangold 66. Pablo Picasso (English, 1757–1827) (Irish, 1749–1815) (German, 1858–1925) Der Spiegel der Venus (German, 1911–1990) (German, b. 1924) (Swiss, 1873–1950) (Spanish, 1881–1973) after John Flaxman after Angelica Kauffman Antike Legenden, portfolio of 12 prints, (The Mirror of Venus) Apollo und Daphne X, 1973 Minotauros, 1965 Hotel Bären, Schoenste Biergarten in Minotaure Attaquant une Amazon, from 5 1 (English, 1755–1826) (Swiss, 1741–1807) 1919 plate: 7 /8 x 10 /8 (Apollo and Daphne X) Lithograph, edition 7/70 Basel, 1910 the Vollard Suite, 1933 1 1 3 1 Saturn and His Children, from the book Jupiter & Calista, 1782 (Classical Legends) sheet: 18 /2 x 24 /2 Etching and drypoint, edition 6/10 image: 32 /4 x 22 /4 (Bear Hotel, Finest Beer Garden in Basel) (Minotaur Attacking an Amazon) 3 7 7 5 Compositions from the Works and Days Crayon-manner engraving Drypoint, edition 21/100 85.14.452 plate: 10 /8 x 8 /8 sheet: 37 /8 x 27 /8 Color lithograph Etching, edition of 250 and Theogony of Hesiod, 1817 plate: 16 x 12 ½ The Vivian and Gordon Gilkey Graphic Arts 7 1 1 Plate XII sheet: 15 x 12 The Vivian and Gordon Gilkey Graphic Arts sheet: 41 x 26 /8 plate: 7 /2 x 10 /2 1 Engraving sheet: 18 x 14 /8 Collection 1 1 Perseus und Andromeda (nach Rubens) Gift of Brigitte H. Bodenheimer Collection Promised gift of Dan Bergsvik and Don sheet: 13 /2 x 17 /2 1 1 plate: 3 /2 x 6 /2 Gift of Mr. and Mrs. August C. Wunderly Plate I [Perseus and Andromeda (after Rubens)] 81.128.7 86.13.443 Hastler Courtesy of Augen Gallery 3 3 sheet: 9 /8 x 9 /4 85.90.8 7 Odysseus und die Freier plate: 14 x 8 /8 Mythologia 43. Tony Fitzpatrick 48. Hagiwara Hideo 62. Andrea Mantegna 67. Pablo Picasso The Vivian and Gordon Gilkey Graphic Arts 5 1 22. Carlo Cesio (Odysseus and the Suitors) sheet: 24 /8 x 19 /8 (American, b. 1958) (Japanese, 1913–2007) (Italian, ca. 1431–1506) (Spanish, 1881–1973) Collection 7 5 (Italian, ca. 1622–ca. 1682) plate: 9 /8 x 15 /8 91.84.728 Medusa Ball, 1996 Greek Mythology, 1966 Bacchanal with Silenius, ca. 1470 La Danse des Faunes, 1957 80.122.229 1 1 after Annibale Carracci sheet: 18 /2 x 24 /2 36. Arthur B. Davies Color etching and aquatint on chine collé, Color woodcut, edition of 50 Engraving (Dance of the Fauns) Gods, Heroes, and Monsters 19. Frank Boyden (Italian, 1560–1609) 85.14.448 1 1 (American, 1862–1928) Gilkey Center proof (edition of 40) image: 20 /2 x 14 /4 sheet, trimmed within platemark: 10 Lithograph, edition of 1,000 (American, b. 1942) The Lovers Venus and Anchises, 1657 7 1 7 1 3 Plate II Maenads, 1918–19 plate: 9 /8 x 8 sheet: 24 /8 x 18 /8 x 17 image: 16 /8 x 20 /4 Phoenix for Gordon, 2001 Etching 1 3 Apollo und die Rosenfingerige Eos Soft-ground etching with aquatint, edition sheet: 18 /8 x 15 The Vivian and Gordon Gilkey Graphic Arts Collection of Hannah Mangold sheet: 19 x 25 /8 October 20, 2012–January 27, 2013 1 5 Color lift-ground etching and drypoint sheet, trimmed to platemark: 9 /4 x 8 /8 (Apollo and the Rosy-Fingered Dawn) of ca. 21 Gift of the Artist and Augen Gallery Collection 63. Reuben Nakian Gift of John Henry Rock edition 1/60 Gift of Louis and Annette Kaufman 3 1 7 plate: 9 /8 x 13 /4 plate: 8 x 10 /8 2003.106.9 91.84.426 90.40.16 3 3 (American, 1897–1986) image: 14 /4 x 10 /4 82.93.30 1 1 3 1 sheet: 18 /2 x 24 /2 sheet: 10 /8 x 14 /4 1 44. John Furnival 49. Hagiwara Hideo Europa and the Bull I, 1980 68. Pablo Picasso (after) sheet: 22 /4 x 15 23. Théodore Chassériau 92.94.45 Gift of Mr. Frederick Newlin Price (English, b. 1933) (Japanese, 1913–2007) Lithograph, artist’s proof, edition of 75 (Spanish, 1881–1973) Gift of the Artist (French, 1819–1856) 50.90 2001.76 Plate III Blind Date, 1979 Minotauros, from the series Greek Gods, image: 21 ¾ x 29 Le Faune, 1958 Apollon et Daphné, 1844 1 Die Jugend des Zeus 37. Arthur B. Davies Artist’s book: etching, embossing, and 1966 sheet: 22 ½ x 30 /8 (Faun) 20. Georges Braque (Apollo and Daphne) (The Childhood of Zeus) (American, 1862–1928) letterpress, edition 254/300 Woodcut, edition 12/50 Museum Purchase: Helen Thurston Ayer Etching and aquatint, edition 42/200 (French, 1882–1963) Lithograph on chine collé 3 1 1 1 1 plate: 9 /4 x 13 /8 Pleiades, 1919 sheet: 13 x 12 /8 image: 15 /4 x 21 /2 Fund plate: 12 x 10 7 3 Hélios V, bleu-violet, 1947 image: 8 /8 x 6 /8 7 1 1 1 7 sheet: 18 /8 x 24 /2 Etching, edition of ca. 20 Gift of Mr. Edward S. Safdie sheet: 18 x 24 /8 81.11 sheet: 21 /2 x 16 /8 5 1 67. Pablo Picasso (Helios V, Blue-Violet) sheet: 12 /8 x 9 /2 7 7 81.106.187 The Vivian and Gordon Gilkey Graphic Arts Courtesy of Augen Gallery 86.13.138 plate: 5 /8 x 8 /8 64. Barbara Neustadt Color lithograph, edition 28/75 Gift of Jay McKean Fisher in memory of his 7 3 sheet: 7 /8 x 10 /8 Collection 1 3 Plate IV 45. Hendrik Goltzius (American, 1922–1998) 69. Giovanni Battista Piranesi 72. Jean Schonwalter This exhibition is organized by the Portland image: 20 /8 x 16 /4 aunt, Jane Hochuli King The Vivian and Gordon Gilkey Graphic Arts 83.57.236 3 (Dutch, 1558–1617) Orpheus and Euridice, from the series (Italian, 1720–1778) sheet: 26 x 19 /4 2011.153 Der Singende Orpheus (American, 1919–1998) Art Museum and curated by Mary Weaver Collection Helios, ca. 1584 50. Grace Hartigan Double Portrait, 1972 Vasca di granito sorretta da quattro fauni, Museum Purchase: Caroline Ladd Pratt (Orpheus Singing) Pandora’s Box, 1971 Chapin, PhD, Curator of Graphic Arts. 7 3 78.52.167 plate: 9 /8 x 12 /4 Chiaroscuro woodcut (American, 1922–2008) Color etching with aquatint, artist’s proof from the series Vasi, candelabri, cippi, Lithograph, edition 22/50 Fund 7 5 3 7 It complements the exhibition The Body 3 5 sheet, trimmed to image: 13 /8 x 10 /8 Dido to Aeneas, from the series The plate: 23 /4 x 17 /8 sarcofagi, tripodi, lucerne, ed ornamenti 5 49.47 sheet: 18 /8 x 24 /8 38. Vernon Dornbach image: 15 /8 x 11 1 Beautiful in Ancient Greece, on view at the 85.14.449 (American, d. 2002) Museum Purchase: Pratt Fund, with Archaics, 1962–66 sheet: 29 /2 x 24 antichi disegnati ed incisi dal Cav. Gio. sheet: 22 x 16 Nymph and Satyr, 1954 additional funds provided by Friends of the Lithograph, artist’s proof, edition of 18 Gift of the Artist Batt. Piranesi, 1778 Gift of the Artist Portland Art Museum, October 6, 2012– Plate V 3 Gilkey Center, the Bequest of Guinevere image: 14 x 17 /4 92.200.2 (Granite cistern supported by four fauns January 6, 2013. Daphnis und Chloe Lithograph, edition 2/12 72. Jean Schonwalter 92.178 3 7 5 image: 17 x 22 /4 B. Hall, Andrée Stevens, Mary Clark, and sheet: 19 /8 x 27 /8 resting on a base, from the series Vases, (Daphnis and Chloe) 65. Hans Orlowski 73. Michael Spafford 1 others Gift of Jay McKean Fisher in honor of Jane candelabra, grave stones, sarcophagi, 1 sheet: 22 /2 x 29 (German, 1894–1967) Gilkey Center programs are supported in part plate: 9 x 14 /8 52–56. Max Klinger 57. Roy Lichtenstein (American, b. 1935) 3 5 The Vivian and Gordon Gilkey Graphic Arts 2010.66 Hochuli King tripods, lamps, and ornaments designed sheet: 18 /8 x 24 /8 Zeus im Giardino di Boboli, 1954 Minotaur, 1987 by the Vivian and Gordon Gilkey Endowment Collection 2005.35 (German, 1857–1920) (American, 1923–1997) and etched by Cavalieri Giovanni Battista 91.84.727 46. Oskar Graf (Zeus in the Boboli Garden) Woodcut with acrylic pigment, artist’s Fund and the Exhibition Series Sponsors. 85.14.193 Selections from Amor und Psyche, Opus Temple, 1964 Piranesi) (German, 1873–1958) 51. Clark Hobart Woodcut, edition of 45 proof (altered) Plate VI Va, 1880 Offset lithograph, edition 84/200 1 3 Etching Ausstellung Büro und Geschäftshaus (American, 1868–1948) image: 14 /2 x 9 /4 39. Henri Fantin-Latour 1 5 7 image: 22 x 16 Das Fest des Bacchus (Cupid and Psyche, Opus Va) image: 23 x 17 /8 7 plate: 20 /8 x 14 /8 München, 1913 Nymph at the Pool, ca. 1915 sheet: 19 /8 x 13 (French, 1836–1904) 3 3 3 7 Private collection (The Festival of Bacchus) Etching and aquatint, portfolio of 15 prints sheet: 23 /4 x 17 /4 sheet: 27 /4 x 19 /8 1 1 Venus et l’Amour, 1895 (Munich Office and Business Exhibition) Monotype The Vivian and Gordon Gilkey Graphic Arts plate: 9 /4 x 13 /4 3 Museum Purchase: Caroline Ladd Pratt Collection of Jordan D. Schnitzer Gift of Henrietta E. Failing 74. Herman van Swanevelt Cover, left to right: 8 1 5 (Venus and Eros) Color lithograph 7 / x 12 Collection sheet: 18 /4 x 24 /8 1 Fund 16.4.9 (Dutch, ca. 1600–1665) Lithograph, edition of 132 image: 35 x 23 /4 Gift of Heirs of Charles Francis Adams 58. Jacques Lipchitz 81.81.382 91.84.69 Venus Offering Diana a Choice between 45. Hendrik Goltzius 1 1 sheet: 35 ¾ x 24 Collection: Peter F. Adams, Mrs. Sandra Venus Zeigt Amor Psyche (French, 1891–1973) 70. Giovanni Battista Piranesi image: 7 /8 x 9 /8 22. Carlo Cesio, after Annibale Carracci 1 3 (Venus Shows Psyche to Cupid) Theseus and the Minotaur, 1943/44 Cupid and Adonis, plate 3 from the series Plate VII sheet: 10 /4 x 13 /4 Promised gift of Dan Bergsvik and Don Adams Beebe, and Charles Anthony (Italian, 1720–1778) 1 7 The Story of Adonis, 1654 58. Jacques Lipchitz Erziehung des Achill Gift of Alfred H. Corbett Hastler Adams plate: 14 /2 x 10 /8 Etching, edition 36/50 Vaso antico di marmo adornato di 7 1 7 1 (The Training of Achilles) 89.20.51 sheet: 16 /8 x 12 /2 plate: 13 /8 x 11 /4 eccellenti sculture…. from the series Etching 78.45.2 3 5 3 7 1 plate: 9 /4 x 13 plate: 12 /8 x 9 /4 77.28.1b sheet: 21 /8 x 15 /8 Vasi, candelabri, cippi, sarcofagi, tripodi, 1 1 5 1 40. Henri Fantin-Latour sheet: 11 /8 x 15 /4 sheet: 24 /8 x 19 /4 Amor Kommend Gift of Mr. Curt Valentin lucerne, ed ornamenti antichi disegnati ed (French, 1836–1904) Gift of Peter and Linda Parshall 85.14.450 (Cupid’s Arrival) 50.171 incisi dal Cav. Gio. Batt. Piranesi, 1778 Ariane, 1900 1 5 2001.79.3 Plate VIII plate: 14 /2 x 10 /8 59. Aristide Maillol (Marble vase with a frieze of sculptures Lithograph on chine collé, edition of 1,580 3 1 3 3 sheet: 16 /8 x 12 /4 (French, 1861–1944) …from the series Vases, candelabra, 75. Clarence Hudson White Der Raub der Helena image: 6 /8 x 4 /4 1 77.28.1d Odes d’Horace, 1939 grave stones, sarcophagi, tripods, lamps, (American, 1871–1925) (The Abduction of Helena) sheet: 9 /2 x 6 5 3 and ornaments designed and etched by Hermes: Boys Wrestling, from the journal plate: 13 /8 x 8 /4 The Vivian and Gordon Gilkey Graphic Arts Psyche mit der Lampe (Odes of Horace) 3 1 Cavalieri Giovanni Battista Piranesi) Camera Work, 1908 sheet: 24 /4 x 19 /8 Collection (Psyche with the Lamp) Artist’s book in 2 volumes with 120 black 1 7 and color woodcuts, edition 8/50 Etching Photogravure 86.13.139 80.122.249 plate: 14 /2 x 10 /8 3 1 7 1 1 3 1 sheet: 8 /8 x 5 /4 plate: 27 /8 x 14 sheet, trimmed to platemark: 8 /2 x 6 /8 Plate IX sheet: 16 /4 x 12 /2 1 41. Arthur Fauser sheet: 29 x 18 /8 Gift of Mr. John H. Wood 77.28.1f Promised gift of Carol and Seymour Haber Urteil des Paris (German, 1911–1990) Gift of Henrietta E. Failing 87.86.24 (Judgment of Paris) Leda mit Schwann (Pan), 1970 Amor findet Psyche 60. Aristide Maillol 16.4.16 1 76. Clarence Hudson White plate: 9 /4 x 14 [Leda and the Swan (Pan)] (Cupid Finds Psyche) (French, 1861–1944) 1 1 1 1 Georgiques de Virgile, 1937–43, 71. Marcantonio Raimondi (American, 1871–1925) sheet: 18 /2 x 24 /2 Etching, edition 15/15 plate: 14 /2 x 10 /2 7 7 5 3 published 1950 (Italian, ca. 1470/1782–1527/1534) Pipes of Pan, from the journal Camera 85.14.451 image: 8 /8 x 10 /8 sheet: 16 /8 x 12 /8 1 3 (The Georgics of Virgil) Mars, Venus, and Cupid, 1508 Work, 1908 Plate X sheet: 14 /4 x 19 /4 77.28.1m Artist’s book containing 122 woodcuts, Engraving Photogravure Die Schmiede des Vulkan Gift of Brigitte H. Bodenheimer 3 1 3 7 Plate 14 edition of 750 plate: 11 /4 x 8 /4 plate: 7 /4 x 5 /8 (The Forge of Vulcan) 82.12.2 1 7 Amor bei Jupiter 5 3 sheet: 13 x 9 /2 sheet: 7 /8 x 6 7 sheet: 12 /8 x 9 /8 plate: 7 /8 x 13 (Cupid with Jupiter) Promised gift of Carol and Seymour Haber Collection of Nate Overmeyer Gift of Mr. John H. Wood 1 1 1 1 sheet: 18 /2 x 24 /2 plate: 14 /2 x 10 /2 87.86.22 92.94.46 3 1 sheet: 16 /4 x 12 /2 61. Burkhard Mangold Portland ARt Museum, Oregon 57. Roy Lichtenstein 38. Vernon Dornbach 77.28.1n her into a laurel tree so she can escape the advances of Apollo. subject among Renaissance artists. To conquer Antaeus, 7. Francesco Bartolozzi Checklist (Italian, 1727–1815) Artists have typically focused on the dramatic moments of the Hercules lifted him up, breaking the Giant’s connection after John Francis Rigaud Dimensions are in inches. (French, 1742–1810, active in England) chase and magical metamorphosis: in Théodore Chasseriau’s with the ground, a story that lent itself well to symbolic Height precedes width. The Meeting of Ulysses and Penelope, rendition of 1844, Apollo catches his beloved prior to her interpretation, dividing the lower, earthbound nature of 1788 Stipple engraving 2 7 1 transformation; in Arthur Fauser’s etching (1973), Apollo humankind (the Giant) from the higher, heavenly realm. 1. Heinrich Aldegrever plate: 15 /8 x 10 /2 (German, 1502–ca. 1561) 1 Mythologia sheet: 17 x 12 /8 reaches the nymph at the very moment her limbs turn into the These types of symbolic representations have been Hercules Fighting the River God Achelous, Gift of Heirs of Charles Francis Adams branches of the laurel tree. Although chastity wins out in this used for other great heroes of classical mythology, and from the series The Labors of Hercules, 1550 Collection: Peter F. Adams, Mrs. Sandra Engraving Adams Beebe, and Charles Anthony Adams Gods, Heroes, and Monsters 5 5 story, far more common is the consummation of love after especially for Theseus, the youth who undertook the sheet, trimmed to platemark: 3 /8 x 2 /8 89.20.14 The Vivian and Gordon Gilkey Graphic Arts prevailing over many obstacles, as in the Cupid and Psyche dangerous task of killing the Minotaur, a beast born from Collection 8. Leonard Baskin 78.52.395 (American, 1922–2000) myth. In 1880, Max Klinger illustrated the whole of Apuleius’s the unnatural love between Pasiphae, wife of Minos, King Hektor’s Horse, 1961 story, in which Cupid falls in love with the princess Psyche. The of Crete, and a white bull. The Minotaur, which had the 2. Heinrich Aldegrever Ink on paper 3 3 (German, 1502–ca. 1561) 26 /4 x 39 /4 It is not hard to understand the lasting appeal of classical suite consists of forty-six plates detailing clandestine romance, body of a man and the head of a bull, was kept in a labyrinth Hercules Killing the Dragon, from the series Museum Purchase: Helen Thurston Ayer The Labors of Hercules, 1550 Fund mythology. Myths deal with the fundamental elements of human jealousy, heartbreak, and the ultimate attainment of love. In on the isle of Crete. Jacques Lipchitz’s etching Theseus Engraving 63.7 3 7 plate: 4 /8 x 3 /8 existence: birth, love, death, jealousy, violence, boredom, fertility, this exhibition, a selection of prints from the suite demonstrates 49. Hagiwara Hideo and the Minotaur, created in the final years of World War 1 3 9. Leonard Baskin sheet: 4 /2 x 3 /4 12. Romare Bearden madness, luck, and misfortune. In these tales, not even the gods Klinger’s virtuoso use of etching and his masterful sense of II, evokes the struggle of humans over their beastly nature, The Vivian and Gordon Gilkey Graphic Arts (American, 1922–2000) Collection Hephaistos, 1963 are free from complications such as strife, betrayal, and tragedy, composition and drama. The irrational power of love, even over gods, can be found represented by the Minotaur. Those familiar with the myth 81.81.42 Etching, edition XXIII/LX Classical mythology has also been recast for humorous, 5 7 plate: 17 /8 x 14 /8 democratizing all human dramas and placing them into the in a host of subjects, including prints reproducing Annibale will recall that the Minotaur was fed seven sacrificial youths 3. Pietro Aquila 1 subversive, or marketing aims in modern and contemporary sheet: 26 /4 x 20 realm of the universal. The fluid nature of Greek mythology— Carracci’s great fresco series The Loves of the Gods that adorns and seven maidens, a reference (though not depicted in (Italian, 1640–ca. 1700) Museum Purchase: Helen Thurston Ayer art. Jean Schonwalter’s lithograph from 1971 depicts a after Annibale Carracci Fund and the Roman mythology it engendered—is another reason the vault in the gallery of the Farnese Palace in Rome (1597– this rendering) that would have reminded twentieth-century (Italian, 1560–1609) 63.9 flattened-out box, with instructions for assembly. But Perseus and Andromeda, plate 2 of 1604). Carlo Cesio’s 1657 print after Carracci shows how Venus, 10. Leonard Baskin for its remarkable lifespan. Although the basic outlines of the viewers of the sacrifice of the young to the insatiable war instead of folding into a nondescript cardboard container, Galeriae Farnesianae Icones, 1674 overcome by passion, coupled with the mortal Anchises; Pietro Etching with engraving (American, 1922–2000) lives of the gods were understood, the details were open to engulfing Europe. Pablo Picasso, too, used the Minotaur to 1 1 Medusa with Owl, from the book it becomes Pandora’s Box, the mythical vessel that holds plate: 14 /4 x 22 /8 3 3 Grotesques: Etchings and a Panegyrical interpretation, not codified in theology or dogma. Thus, each Aquila’s print Triumph of Bacchus and Ariadne (1674) depicts metaphorically evoke the violence of the Spanish political sheet: 18 /4 x 28 /4 all the plagues of mankind. Likewise, Roy Lichtenstein’s Gift of Mrs. Charles E. Ladd Note, 1991 succeeding era has been able to see classical mythology through Bacchus, the god of wine, and Ariadne, the daughter of the upheavals in the 1930s. But for Picasso, the Minotaur could 77.59.2b Etching, trial proof for book, edition of 26 pop rendition of a Greek temple strips the image of 3 plate: 5 x 3 /4 its own eyes, finding meaning through myth in the contemporary king of Crete, being transported in chariots amid a celebratory also represent pure libido; both interpretations are possible 4. Pietro Aquila 5 1 20. Georges Braque 14. Hans Sebald Beham any narrative, leaving only the stark, iconic form. Tony sheet: 12 /8 x 9 /2 world while also forming part of the continuum that dates back procession of nymphs and satyrs to their marital bed. Carnal in Minotaure attaquant une amazon (Minotaur Attacking an (Italian, 1640–ca. 1700) Gift of Lisa Unger Baskin Fitzpatrick’s exuberant etching Medusa Ball (1996) has after Annibale Carracci 2007.53.6 12. Romare Bearden 16. William Blake love is depicted in the libidinous activities of centaurs, fauns, and Amazon, 1933). Japanese printmaker Hagiwara Hideo and (Italian, 1560–1609) he lives of the ancient Greeks were profoundly over millennia. the writhing reptilian extensions of the Gorgon’s head, 11. Romare Bearden (American, 1911–1988) (English, 1757–1827) Perseus and Phineus, plate 4 of Galeriae Odysseus Leaves, from the Odysseus after John Flaxman Not surprisingly, visual artists have found inspiration in satyrs, as is seen in Vernon Dornbach’s lithograph Nymph and contemporary northwest artist Michael Spafford similarly Farnesianae Icones, 1674 (American, 1911–1988) shaped by the stories they told about gods, heroes, but his is not the monster with snakes for hair, but rather a Cattle of the Sun God, from the Odysseus Suite, 1979 (English, 1755–1826) Satyr (1954), and is suggested in Giovanni Battista Piranesi’s Etching with engraving Screenprint, edition LXV/LXXV Astraeus and Aurora, from the book classical legends, adopting them to convey moral, ethical, and portrayed the Minotaur as an embodiment of insatiable 1 1 Suite, 1979 monsters, and fantastical creatures. Incredibly rich disembodied mass that appears relatively benign amid its plate: 14 /4 x 22 /4 1 image: 18 /4 x 24 Compositions from the Works and Days 3 7 Screenprint, edition LXV/LXXV aesthetic lessons. Mythologia: Gods, Heroes, and Monsters, renditions of classical vases, in which, among other mythological sexual desire, uncoupled from his battle with Theseus. sheet: 18 /4 x 28 /8 5 and endlessly fascinating, myths varied from region 1 1 sheet: 22 x 29 /8 and Theogony of Hesiod, 1817 tarot-like iconography. Another playful use of mythology Gift of Mrs. Charles E. Ladd image: 18 /8 x 22 /8 7 Collection of the Jordan Schnitzer Family Engraving drawn from the Portland Art Museum and local collections, elements, fauns appear as a decorative motif (1778). In the 1970s, Romare Bearden used Odysseus, sheet: 21 x 28 /8 T 77.59.2d 3 3 to region, but held a common currency throughout the Hellenic comes from earlier in the century from Swiss artist Burkhard Collection of the Jordan Schnitzer Family Foundation plate: 7 /8 x 7 /8 The ordeals of mythological heroes is another 1 1 universe for more than one thousand years, from roughly the surveys the long afterlife of Greek and Roman mythology the Greek hero of the Trojan War, to draw parallels to Mangold. In his 1910 poster for the Hotel Bären (Bear 5. Pietro Aquila Foundation 13. Hans Sebald Beham sheet: 13 /4 x 10 /8 in prints, drawings, and artists’ books spanning more than recurrent theme in the graphic arts from the Renaissance African American life. In a series of collages, watercolors, (Italian, 1640–ca. 1700) (German, 1500–1550) The Vivian and Gordon Gilkey Graphic Arts time of Homer (the ninth or eighth century BC) to the fourth Hotel), he places astride a bear a nude, classically rendered after Annibale Carracci Hercules and Antaeus, 1545 Collection century AD, when the Emperor Constantine adopted the new five hundred years. The titles of the artworks reveal that the to today. Among the earliest representations in this and screenprints, Bearden told of the hero’s adventures (Italian, 1560–1609) Engraving 82.80.66 Orpheus—who could play the lyre so beautifully that it Triumph of Bacchus and Ariadne, plate 12 1 exhibition are sixteenth-century engravings by Hans and epic journey home, substituting black characters and sheet, trimmed to platemark: 2 /8 x 3 17. William Blake religion of Christianity. Although some critical thinkers cast doubt favored themes throughout the centuries are those that most enchanted wild beasts—to advertise the weekly concerts of Galeriae Farnesianae Icones, 1674 Gift of Mrs. Mary Riley (English, 1757–1827) Sebald Beham and Heinrich Aldegrever showing the Etching with engraving 93.39.8 after John Flaxman relate to daily life—love, struggle, and triumph. Although African dress for the traditional white European figures. As 5 on the existence of gods—it was Plato who coined the term in the beer garden, an invitation that would have been plate: 16 x 27 /8 (English, 1755–1826) 3 14. Hans Sebald Beham this essay could never give full consideration to each labors of the Greek hero Heracles (known to the Romans such, Odysseus’s adversity and many years of travel and sheet: 18 /4 x 29 mythologia to denote these fanciful tales and separate them from decidedly hard to resist. (German, 1500–1550) Giants and Titans, from the book as Hercules). Although diminutive in scale, these prints Gift of Mrs. Charles E. Ladd Compositions from the Works and Days scientific knowledge1—myth formed an integral part of civic artist’s engagement with myth, or a detailed account of the displacement evoke both the Great Migration in the United 77.59.2L Hercules and Cacum, 1545 Engraving and Theogony of Hesiod, 1817 substance of each myth, it provides a general framework and capture the strength and endurance of the mighty hero States, in which millions of African Americans migrated 6. Francesco Bartolozzi 7 3 Engraving —Mary Weaver Chapin, PhD sheet, trimmed to platemark: 1 /8 x 2 /4 life for most people, dictating feast days, sacrifices, and the 1 1 (Italian, 1727–1815) Gift of Mrs. Mary Riley plate: 7 /2 x 7 /2 some insight into a few key themes and objects that reflect who had to overcome twelve labors to redeem himself. from the rural South to the industrial North, as well as the Curator of Graphic Arts 3 1 construction of temples to local deities, oracles, and patron after Giovanni Battista Cipriani 93.39.10 sheet: 12 /4 x 10 /8 the enduring power of mythology in the graphic arts. Perhaps the most dramatic is Hans Sebald Beham’s dislocation of millions of slaves, transported from Africa (Italian, 1727–1785, active in England) The Vivian and Gordon Gilkey Graphic Arts gods of a metropolis. So enthralling were the tales of the The Departure of Hector, 1786 15. Hans Sebald Beham Collection engraving from 1545 of Hercules and Antaeus. Although 1 (German, 1500–1550) struggles, exploits, and adventures of the Greek gods and Perhaps no theme is more utilized than the trials and to the New World. Bearden explained that by retelling Arthur Cotterell, The Encyclopedia of Mythology (New York: Smithmark, 1996), 10. Stipple engraving 79.50.367 1 5 Hercules and Cerberus, 1545 the hero’s battle with Antaeus, the Giant whose strength 2 Wendy Thompson notes that this interpretation was in circulation very early on: “Cristoforo Landino, writing in about image: 15 /2 x 10 /8 triumphs of love, in all its guises. Thwarted desire appears in the story with black figures, it gained wider understanding, 1 Engraving heroes that the Romans adopted them wholesale around the 1470, explained that Hercules was unable to overcome Antaeus, who represented his own lower nature, until the giant sheet: 16 /2 x 12 1 the myth of Apollo and Daphne, in which the chaste nymph came from his mother, Gaea (Earth), is not considered “so if a child in Benin or in Louisiana sees my paintings of was detached from earthly things and raised towards the heavens.” Thompson, Poets, Lovers, and Heroes in Italian Gift of Heirs of Charles Francis Adams sheet, trimmed to platemark: 3 x 2 /8 second century BC, weaving the Greek gods into the fabric Mythological Prints (New York: The Metropolitan Museum of Art, 2004), 48. Gift of Mrs. Mary Riley 3 Collection: Peter F. Adams, Mrs. Sandra one of Hercules’ twelve labors, it was a very popular 3 of the Roman pantheon. Daphne implores her father, the river god Peneus, to transform Odysseus, he can understand the myth better.” Bearden, quoted in Ruth E. Fine, The Art of Romare Bearden (Washington, DC: National Gallery of Art, 2004), 89. Adams Beebe, and Charles Anthony Adams 93.39.9 52. Max Klinger 89.20.13 23. Théodore Chassériau