DOCSLIB.ORG

Mythology Paul Manôhip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mythology Paul Manôhip MYTHOLOGY AND THE ART OF PAUL MANÔHIP MYTHOLOGY Classical mythology has given us a legacy of powerful and fascinating stories that reflect early man's desire to provide meaningful answers to some of the most profound questions about life and the universe. In Greek the word mythology (mythologia) means storytelling. The myths of Greece and Rome, whose gods are often interchangeable, deal with themes of love, war, tyranny, courage, and natural phenomena. They also explore the relationship between gods and men and the good and evil traits they share, such as greed, lust, jealousy, wisdom, and generosity. A combination of ancient beliefs and great literature, classical mythology has been the inspiration for much of the art and literature of succeeding ages. In choosing the following myths as source material for his sculptures, Paul Manship brought the gods and mortals of antiquity vividly to life. EROS AND PSYCHE Princess Psyche had such unsurpassed beau­ ty that men began to worship her instead of Aphrodite, the goddess of love and beauty. Outraged, Aphrodite enlisted the help of her son Eros, the winged god of love, to punish Psyche. When Eros saw Psyche, however, he fell in love with her. Eros courted and charmed Psyche, but always in the dark; she could feel and hear him but was sworn not to attempt to see his face. Convinced that only an evil creature would shun light, Psyche held a lamp to Eros's face while he slept and was dazzled by the sight of this handsome god. Awakened, Eros rebuked Psyche for her breach of faith, and he fled. Determined to redeem herself. Psyche offered herself as a servant to Aphrodite. Touched by her repentance, Eros convinced Zeus to make Psyche immortal and allow them to be married on Mount Olympus, the dwelling place of the gods. Ems and Psyche, ca. 1925 pencil on tracing paper, 10 9/16 x 15 11/16 in. FLIGHT OF EUROPA Europa, the princess of Phoenicia, was play­ ing with her companions by the sea when love. Fearful of his wife Hera's jealous wrath, Zeus thought it best to be cautious, symbol of strength and fertility. Europa quickly overcame her fear and played with crescent-shaped horns with flowers. Europa climbed on the animal's back, and Zeus nade his way into the surf and swam off. He carried Europa across the sea to Crete, where he shed his disguise. Europa bore Zeus three sons, and she has the distinction of having a continent named after her. flight of Europa, 1925 gilded bronze on marble base, 22 1/8 in. high VENUS ANADYOMENE The goddess of love, beauty, grace, and fer­ tility, Venus was the daughter of Jupiter and Dione. One version of her birth states that she sprang from the sea and was car­ ried along the waves to the Island of Cyprus. Her name—Anadyomene—means "born of water." The most beautiful of all the gods, Venus married Vulcan, the ugly deformed god of destructive fire. Venus bore a son, Cupid, whose wings allowed him to fly and shoot his arrows into people to coax them into falling in love. Venus Anadyomene, 1924 bronze on marble base, 9 in. high CIRCE ENCHANTS ULYSSES' SAILORS Circe, daughter of the sun, was a sorceress who could transform men into animals by touching them with her magic wand. When Ulysses, king of Ithaca, sailed to Aeaea, Circe entertained the members of his advance party and then turned them into pigs. When Ulysses set out to rescue his men he was intercepted by Mercury, the winged messenger of the gods, who gave him an herb to enable him to resist Circe's enchantment. When Circe realized she had no power over Ulysses, she freed his men ftom her spell and became their friend. Ulysses stayed for a long time in her company, leading a leisurely life. When Ulysses' men finally convinced him to leave, Circe told them how to sail safely past the island inhabited by the Sirens—sea nymphs who, with their seductive songs, lured sailors to their death against the rocky coast. Circe Enchants Ulysses' Sailors, 1957 bronze on wood base, 5 1/2 in. high ATALANTA A lovely swift-footed maiden, Atalanta could run faster than all others. Because a prophecy warned her to avoid marriage, she challenged each of her suitors to a foot race—death being the penalty for defeat. While observing the races, a handsome youth named Hippomenes fell in love with Atalanta and challenged her, hoping to gain her hand in marriage. The young suitor invoked the aid of Venus, the goddess of love, who presented him with three golden apples. During the contest, Hippomenes dropped the three golden apples one after the other, each of which Atalanta paused to pick up. These delays allowed Hippomenes to win the race and to take as his bride Atalanta, who was secretly pleased by the race's outcome. Atalanta, 1921 bronze, 28 3/4 in. high ORPHEUS Orpheus was such a marvelous musician that whenever he sang and played his lyre, nature itself would listen entranced and all creatures would follow him. One day, Eurydice, his wife, was bitten by a snake and died. Overwhelmed with grief, Orpheus ceased to play and sing, and wandered into the passage leading to the Underworld. There Orpheus played his lyre so mellifluously that he was allowed to enter Hades, the underground home of the dead, where he was granted a favor: Eurydice would return from the dead if Orpheus could lead her to open air without looking back at her. In the Greek version of the story, Orpheus succeeded in this task, but in later Roman versions, Orpheus could not refrain from glancing at his wife and, through his excess of love, lost her. The pairing of Orpheus and Pegasus is Manship's own invention. Orpheus, n.d. pencil on paper, 8 x 10 5/8 in. PROMETHEUS Prometheus belonged to the gigantic race of gods called Titans. To him lay the task of creating men and supplying them with what they needed to survive. Having fashioned man in the image of the gods, Prometheus was eager to provide a gift that would set humans above all other creatures—the gift of fire. Outraged by this deed and fearing that the use of this powerful tool might make man think himself immortal, Zeus, the king of the gods, had Prometheus chained to a rock on Mount Caucasus, where a vulture preyed on his liver each day. Every night the wound would heal, and the following day the tor­ ture would be repeated. Because Pro­ metheus neither repented nor begged for mercy, he has become a symbol for the no­ ble endurance of unmerited suffering—the first champion of man. Prometheus Fountain, Rockefeller Center photo: Bo Parker, NYC HERCULES Hercules, admired for his great physical strength and unflinching courage, was a popular hero in Greece. When he was eighteen, Hetcules slew the ferocious Nemean lion that lived in the nearby woods. After unsuccessfully using his club against the lion, he strangled the animal with his bare hands and wore its skin as a cloak—with the head forming a kind of hood over his own head. Then a terrible misfortune befell Hercules. As the illegitimate son of Zeus, he had incurred the jealous wrath of Hera, Zeus's wife, who inflicted a fit of madness upon him, causing him to kill his wife and children. To atone for this horrible deed, Hercules humbly agreed to submit to a series of penances. The twelve all but impossible tasks imposed on him have become known as the "Labors of Hercules." Hercules, 1945 bronze, 12 9/16 in. high HERCULES AND THE CRETAN BULL Hercules' seventh labor was to go to Crete where a great bull roamed at liberty, terri­ fying the people and trampling the vines and crops wherever it went. The bull had been given to Crete's King Minos by Poseidon, the god of the sea, who had ex­ pected the king to offer the bull as a sacrifice to him. When King Minos refused, Poseidon, in anger, drove the bull mad. Hercules managed to capture the bull single-handedly, and he put it on a boat and carried it back across the sea. Unfortunately, the bull was turned loose and eventually made its way to Maratón, where Theseus, the Athenian hero, later caught the beast and sacrificed it. Hercules and the Cretan Bull, 1956 bronze, 4 1/16 in. high BELLEROPHON AND PEGASUS Envious of his wife's attention to the young warrior Bellerophon, Prince Proteus arranged for him to be sent to kill the Chimera, a fearsome monster who breathed fire, with the hope that Bellerophon would be killed. To assist him in his conquest, Bellerophon sought to tame the immortal winged horse, Pegasus. When Bellerophon asked Minerva, the goddess of wisdom, for advice, she presented him with a golden bridle and showed him where Pegasus drank from a stream. The magnificent horse submitted willingly to the bridle and together they flew high above the Chimera to avoid his flames, allowing Bellerophon to slay the monster with his spear. Proud of his success, Bellerophon decided to ride Pegasus to Mount Olympus, but the horse threw him. He tumbled to earth and spent the rest of his life wandering alone. Bellerophon and Pegasus, 1950 bronze, 7 1/2 in. high DIANA AND A C T A E O N Diana was the woodland goddess of the moon and of hunting, as well as the pro­ tector of wild animals, women, children, and weak creatures.
Load more

Recommended publications
  • The Hellenic Saga Gaia (Earth)
    The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10.
    [Show full text]
  • Land of Myth Odyssey Players
    2 3 ἄνδρα µοι ἔννεπε, µοῦσα, πολύτροπον, ὃς µάλα πολλὰ πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσεν· πολλῶν δ᾽ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω, πολλὰ δ᾽ ὅ γ᾽ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυµόν, ἀρνύµενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων. Homer’s Odyssey, Book 1, Lines 1-5 (ΟΜΗΡΟΥ ΟΔΥΣΣΕΙΑ, ΡΑΨΟΔΙΑ 1, ΣΤΙΧΟΙ 1-5) CREDITS INDEX Credits – The Land of Myth™ Team Written & Designed by: John R. Haygood Art Direction: George Skodras, Ali Dogramaci Who We Are .............................................................................................. 6 Cover Art: Ali Dogramaci What is this Product ................................................................................. 6 Proofreading & Editing: Vi Huntsman (MRC) This is a product created by Seven Thebes in collaboration with the Getty Museum Introduction ................................................................................................ 7 in Los Angeles, USA. Special thanks for the many hours of game testing and brainstorming: Safety and Consent .................................................................................. 10 Thanasis Giannopoulos, Alexandros Stivaktakis, Markos Spanoudakis The Land of Myth Mechanics: A Rules-Light Version ...................... 12 First Edition First Release: November 2020 Telemachos and His Quest ................................................................... 24 Character Sheets ...................................................................................... 26 Playtest Material V0.3 Please note that this game is still
    [Show full text]
  • The Labours of Heracles (Part 1)
    The Labours of Heracles (part 1) Long ago, a baby boy was asleep in a nursery. The door was open to let the cool breeze waft into the room. However, it was not just the air that could enter the room. First one, and then a second snake slithered in through the gap. They had been sent by the goddess Hera, Queen of Heaven. It’s hard to understand how anyone, even a goddess, could hold anything against innocent children, but her immortal heart was filled with hatred for the baby boy. His mother was a human woman, but his father was none other than Zeus, Lord of Heaven, and husband of Hera. In short, Hera was jealous. The snakes slid towards the bed. The baby stretched and yawned. The viper who was out in front stuck out his tongue and hissed. It reared its head to see if it could reach the top of the mattress. That was the last thing it did, because the boy shot out his hand and grabbed it by the neck. The other snake slid swiftly across the floor towards him, but the child grabbed that one too and began to shake it violently. The nurse heard the commotion came rushing into the nursery, but it was too late – for the snakes. The boy, whose name was Heracles, had killed them both. The boy grew into a teenager, and he was without doubt the strongest human who had ever walked on the face of the Earth. Still young, he was a formidable sight, with his towering height and his huge muscles.
    [Show full text]
  • Rubens's Peasant Dance in the Prado
    1 David Freedberg Rubens’s Peasant Dance in the Prado.1 Today I want to talk about one of Rubens’s most enchanting paintings, his Dance of Mythological Figures and Villagers in the Prado.2 It is one of his most loveable and most important late works, and though it has been much admired, it has not received anything like the attention, let alone the commentary it deserves. To anyone who knows Rubens’s work, it is clear that the picture must have been painted in the last decade of his life, when, after his long courtly and diplomatic labors, he retired to the countryside with his young bride, Hélène Fourment. There, although he kept his studio in Antwerp very busy with an incessant flow of commissions, both religious and mythological, he concentrated on two main themes: his family, and the life of the Flemish countryside. He painted the landscape he grew to love deeply, and he painted the peasants who lived in it with a mixture of candor, affection, and respect for both their labors and their pleasures. The painting fits perfectly with what we know about Rubens in the 1630s, but when it was painted within that decade is another question. There are many indicators of a date well into the 1630s: the beautiful glow in the evening sky, suffusing the blue sky and wispy clouds, the softness of the dense foliage, the delicate treatment of the farmhouse with its enticing terrace on the right. Consider also the magnificent coloristic treatment of this picture: the ravishing changeant on the lilac dress of the young woman just catching up on the dance in the center rear of the 1 Originally given as a lecture sponsored by the Fondación Amigos Museo del Prado at the Museo del Prado on February 2, 2004 and published as “La ‘Danza de aldeanos’ de Rubens en el Prado,” in Historias Mortales: La vida cotidiana en el arte, Madrid: Fundación Amigos del Museo del Prado; Barcelona: Galaxia Gutenberg/Círcolo de Lectores, 2004, 128-142.
    [Show full text]
  • Greek Characters
    Amphitrite - Wife to Poseidon and a water nymph. Poseidon - God of the sea and son to Cronos and Rhea. The Trident is his symbol. Arachne - Lost a weaving contest to Athene and was turned into a spider. Father was a dyer of wool. Athene - Goddess of wisdom. Daughter of Zeus who came out of Zeus’s head. Eros - Son of Aphrodite who’s Roman name is Cupid; Shoots arrows to make people fall in love. Demeter - Goddess of the harvest and fertility. Daughter of Cronos and Rhea. Hades - Ruler of the underworld, Tartaros. Son of Cronos and Rhea. Brother to Zeus and Poseidon. Hermes - God of commerce, patron of liars, thieves, gamblers, and travelers. The messenger god. Persephone - Daughter of Demeter. Painted the flowers of the field and was taken to the underworld by Hades. Daedalus - Greece’s greatest inventor and architect. Built the Labyrinth to house the Minotaur. Created wings to fly off the island of Crete. Icarus - Flew too high to the sun after being warned and died in the sea which was named after him. Son of Daedalus. Oranos - Titan of the Sky. Son of Gaia and father to Cronos. Aphrodite - Born from the foam of Oceanus and the blood of Oranos. She’s the goddess of Love and beauty. Prometheus - Known as mankind’s first friend. Was tied to a Mountain and liver eaten forever. Son of Oranos and Gaia. Gave fire and taught men how to hunt. Apollo - God of the sun and also medicine, gold, and music. Son of Zeus and Leto. Baucis - Old peasant woman entertained Zeus and Hermes.
    [Show full text]
  • Folktale Types and Motifs in Greek Heroic Myth Review P.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic Quest
    Mon Feb 13: Heracles/Hercules and the Greek world Ch. 15, pp. 361-397 Folktale types and motifs in Greek heroic myth review p.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic quest NAME: Hera-kleos = (Gk) glory of Hera (his persecutor) >p.395 Roman name: Hercules divine heritage and birth: Alcmena +Zeus -> Heracles pp.362-5 + Amphitryo -> Iphicles Zeus impersonates Amphityron: "disguised as her husband he enjoyed the bed of Alcmena" “Alcmena, having submitted to a god and the best of mankind, in Thebes of the seven gates gave birth to a pair of twin brothers – brothers, but by no means alike in thought or in vigor of spirit. The one was by far the weaker, the other a much better man, terrible, mighty in battle, Heracles, the hero unconquered. Him she bore in submission to Cronus’ cloud-ruling son, the other, by name Iphicles, to Amphitryon, powerful lancer. Of different sires she conceived them, the one of a human father, the other of Zeus, son of Cronus, the ruler of all the gods” pseudo-Hesiod, Shield of Heracles Hera tries to block birth of twin sons (one per father) Eurystheus born on same day (Hera heard Zeus swear that a great ruler would be born that day, so she speeded up Eurystheus' birth) (Zeus threw her out of heaven when he realized what she had done) marvellous infancy: vs. Hera’s serpents Hera, Heracles and the origin of the MIlky Way Alienation: Madness of Heracles & Atonement pp.367,370 • murders wife Megara and children (agency of Hera) Euripides, Heracles verdict of Delphic oracle: must serve his cousin Eurystheus, king of Mycenae -> must perform 12 Labors (‘contests’) for Eurystheus -> immortality as reward The Twelve Labors pp.370ff.
    [Show full text]
  • Chaining Bellerophon: on Ethics and Pride
    Commentary MICHAEL CAVENDISH Chaining Bellerophon: On Ethics and Pride THE TALE FROM Greek mythology about able, intractable monsters of injustice. And, to retreat further into the figurative, we have lawyers in gener- Bellerophon proceeds like this. Bellerophon al, who, finding themselves in what is often the zero- was the greatest warrior of his age. He rode Pe- sum universe of the criminal and the civil law—one side does usually fare better than the other—feel the gasus, the winged flying horse. Bellerophon flush of success and the subsequent Bellerophonic wielded a great spear and slayed an unbeat- impulse to move on to some feat that is even larger than the one that came before. Lawyers need able, intractable monster: the Chimera. Return- Bellerophon, because the lesson to be learned from ing home, the warrior quickly became bored, Bellerophon’s story is the imperiling nature of hubris (a billowing pride) specifically and pride more gen- then—much to his regret—decided to ride Pe- erally. Pride and lessons following even mild humiliation gasus up to the peak of Mount Olympus to rub or embarrassment catalyzed by pride-based vignettes elbows with his equals—the gods. But the peak are an inescapable part of the human experience. The last such incident for me occurred when I trav- was too far for him, and his successes came to eled to a mixed meeting of potentates and peons (I an end: Bellerophon died. was the peon) who were presiding over an audit of a large and rich state government agency during my home state’s gubernatorial transition.
    [Show full text]
  • 7 X 11 Long.P65
    Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information t INDEX Achilles, shield by Hephaistos, 61, 223n23 two versions, Italian and Latin, 223n15 Achilles Tatius on verisimilitude, 94, 98 on grouping of paintings, 172, 242n53 De re aedificatoria on painting depicting the myth of Philomela, on fabulae, 38 188. See also Europa on historiae, 38 translated by Dolce, 172 on paintings in villas, 38 Acrisius, legendary King of Argos, 151 humanistic painting program of, 38, 59 ad fontes, 101 Aldrovandi, Ulisse, Adhemar,´ Jean, 19, 227n90 All the Ancient Statues ...,12 Adonis on antique statues of Adonis and Venus, 114 Death of Adonis by Piombo, 215n4. See also description of Danae,¨ 127, 128 Venus and Adonis description of Europa, 91 Adriani, Giovanni Battista, 152–153, 169, 170, description of Marsyas, 135–136 174 description of Proserpina, 106 Adrian VI (pope from 9 January 1522 to 14 description of statues compared with Lucius’s, September 1523), 44 114 dispenses with antiquities from Rome, 44 on gardens, 153 tutor of Charles V, 246n6 identification of mythological subjects by, 12 Aesop, 197, 200 Alexander the Great, 42 Agostini, Niccolodegli,` 65 armor of, 138 Alamanni, Luigi, Favola di Narcisso and Favola di and Roxana. See Sodoma (Giovanni Antonio Fetonte, 211, 248n48 Bazzi) Alberti, Leon Battista alla franceze. See Warburg, Aby De pictura, 4 all’antica on art practices, 56 accumulated interest in antiquity required for, on brevitas, 190 2, 131 on historia, 58–59
    [Show full text]
  • Classical Images – Greek Pegasus
    Classical images – Greek Pegasus Red-figure kylix crater Attic Red-figure kylix Triptolemus Painter, c. 460 BC attr Skythes, c. 510 BC Edinburgh, National Museums of Scotland Boston, MFA (source: theoi.com) Faliscan black pottery kylix Athena with Pegasus on shield Black-figure water jar (Perseus on neck, Pegasus with Etrurian, attr. the Sokran Group, c. 350 BC Athenian black-figure amphora necklace of bullae (studs) and wings on feet, Centaur) London, The British Museum (1842.0407) attr. Kleophrades pntr., 5th C BC From Vulci, attr. Micali painter, c. 510-500 BC 1 New York, Metropolitan Museum of ART (07.286.79) London, The British Museum (1836.0224.159) Classical images – Greek Pegasus Pegasus Pegasus Attic, red-figure plate, c. 420 BC Source: Wikimedia (Rome, Palazzo Massimo exh) 2 Classical images – Greek Pegasus Pegasus London, The British Museum Virginia, Museum of Fine Arts exh (The Horse in Art) Pegasus Red-figure oinochoe Apulian, c. 320-10 BC 3 Boston, MFA Classical images – Greek Pegasus Silver coin (Pegasus and Athena) Silver coin (Pegasus and Lion/Bull combat) Corinth, c. 415-387 BC Lycia, c. 500-460 BC London, The British Museum (Ac RPK.p6B.30 Cor) London, The British Museum (Ac 1979.0101.697) Silver coin (Pegasus protome and Warrior (Nergal?)) Silver coin (Arethusa and Pegasus Levantine, 5th-4th C BC Graeco-Iberian, after 241 BC London, The British Museum (Ac 1983, 0533.1) London, The British Museum (Ac. 1987.0649.434) 4 Classical images – Greek (winged horses) Pegasus Helios (Sol-Apollo) in his chariot Eos in her chariot Attic kalyx-krater, c.
    [Show full text]
  • Venus Anadyomene Ἀναδυομένη: ›Die Entsteigende‹
    Die Literatur des 20. Jahrhunderts III. Gottfried Benn: Morgue (8. 11. 2016) Die Literatur des 20. Jahrhunderts III. Gottfried Benn: Morgue Die Literatur des 20. Jahrhunderts III. Gottfried Benn: Morgue (8. 11. 2016) Egon Schiele Selbstporträt mit Physalis 1912 Leopold Museum, Wien Die Literatur des 20. Jahrhunderts III. Gottfried Benn: Morgue (8. 11. 2016) Sandro Botticelli: Die Geburt der Venus (1485/86 − Uffizien, Florenz) Die Literatur des 20. Jahrhunderts III. Gottfried Benn: Morgue (8. 11. 2016) Venus Anadyomene Ἀναδυομένη: ›die Entsteigende‹ Aphrodite: ›die aus Schaum Hervorgegangene‹ Venus: ›die Schöne, Reizvolle, Verehrungswürdige‹ Die Literatur des 20. Jahrhunderts III. Gottfried Benn: Morgue (8. 11. 2016) Venus Anadyomene Ἀναδυομένη: ›die Entsteigende‹ Doch des Uranos Scham, getrennt vom Leib durch das Eisen, abwärts geworfen vom Land in die laut aufbrandende Meerflut, trieb übers Wasser lange dahin, bis schließlich ein weißer Ring von Schaum sich hob um das göttliche Fleisch: Da entwuchs ihm alsbald die Jungfrau. Zunächst zur heiligen Insel Kythera wandte sie sich und kam dann zum meerumflossenen Kypros. Hier, wo der Flut entstiegen die ehrfurchtgebietende, schöne Himmlische, bettete Gras ihren leichten Tritt. Aphrodite, schaumentsprossene Göttin, bekränzt mit den Blüten Kytheras, heißt sie bei Göttern und Menschen, sie, die aus Aphros, dem Schaume, wuchs. Kythereia jedoch, weil der Insel Kythera sie nahte, ferner Kyprogenea, der Brandung bei Kypros entstiegen, Göttin der Zeugung sodann, dem Glied der Zeugung erstanden. Hesiod (8. Jh. v. Chr.): Theogonie, v. 188-198 Die Literatur des 20. Jahrhunderts III. Gottfried Benn: Morgue (8. 11. 2016) Casa di Venere, Pompeji Die Literatur des 20. Jahrhunderts III. Gottfried Benn: Morgue (8. 11.
    [Show full text]
  • Corpus Rubenianum Ludwig Burchard A/C Ÿ S // 4'!
    CORPUS RUBENIANUM LUDWIG BURCHARD A/C ÿ S // 4'! PART XXIII COPIES AFTER THE ANTIQUE IN THREE VOLUMES I •TEXT II • CATALOGUE III • PLATES & INDEX CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR LUDWIG BURCHARD IN TWENTY-SEVEN PARTS The Editors and Publishers gratefully acknowledge the support given by the Board of the Franqui-Fonds toioards the préparation of this publication SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE 'NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVIde EN DE XVIIde EEUW' R.-A. D'HULST, P resident ■ F. BAUDOUIN, Secretary ■ A. BALIS, Treasurer DE PAUW-DE VEEN • N. DE POORTER ■ H. DEVISSCHER ■ P. HUVENNE • H. NIEUWDORP M. VANDENVEN • C. VAN DE VELDE ■ H. VLIEGHE RUBENS COPIES AFTER THE ANTIQUE BY MARJON VAN DER MEULEN VOLUME III • PLATES & INDEX E D IT E D B Y ARNOUT BALIS HARVEY MILLER PUBLISHERS HARVEY MILLER PUBLISHERS Knightsbridge House • 197 Knightsbridge, 8th Floor • London SW7 1RB AN IMPRINT OF G + B ARTS INTERNATIONAL © 1995 Nationaal Centrum voor de Plastische Kunsten van de 16de en de 17de Eeuw British Library Cataloguing in Publication Data Meulen, Marjon Van Der Rubens' Copies After the Antique. - Vol. 3: Plates. - (Corpus Rubenianum Ludwig Burchard) I. Title II. Series 759.9493 ISBN 1-872501-66-4 All rights reserved. No part of this publication may be reproduced, stored in a retrieval System, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Harvey Miller Publishers Composition by Jan Keiler, London Printed and bound by BAS Printers Ltd • Over Wallop • StocKbridge • Hampshire Manufactured in Great Britain CONTENTS Sources of Photographs Page 7 Plates 9 Index I: Collections 233 Index II: Subjects 239 Index III: Other Works by Rubens mentioned in the Text 256 Index IV: Antique Objects 262 Index V: Names and Places 278 Index VI: References to the Documents 295 Sources of Photographs Amsterdam, RijKsmuseum: Text ill.
    [Show full text]
  • Blizzard Bag 1: Bellerophon and Atlanta
    THE MYTH OF BELLEROPHON Bellerophon was a good looking young man, and the master of the winged horse, Pegasus. He was so handsome that a queen fell in love with him, but Bellerophon did not feel the same way about her. The queen was broken hearted, and asked the king to kill Bellerophon. Unable to kill him himself, the king sent Bellerophon to see King Lycia, who he has asked to kill Bellerophon for him. The king of Lycia was unable to kill Bellerophon as well. Instead, he came up with a plan – he decided to send Bellerophon on a very difficult quest, THE MYTH OF BELLEROPHON with the hope of him dying in the process. He asked Bellerophon to kill the Chimera, a ferocious creature with the head of a lion and the body of a goat. Bellerophon accepted the challenge. Because he was master of the mighty Pegasus, he was able to fly high above the Chimera. Because the Chimera was unable to get close to him, Bellerophon was able to kill it with his bow and arrow. After this heroic deed, Bellerophon became quite arrogant. He thought his actions should allow him to sit among the gods at Mount Olympus. Pegasus had no time for his arrogance, and promptly threw him off. As a punishment for his arrogance, Bellerophon was left on Earth alone, and the mighty Pegasus was brought to Mount Olympus to live among the gods. THE MYTH OF BELLEROPHON MYTH SUMMARY WHO WERE THE MAIN CHARACTERS? WHERE DID IT TAKE PLACE? WHAT WERE THE MAIN EVENTS? USE THE INFORMATION YOU GATHERED TO SUMMARIZE THE STORY HERE.
    [Show full text]