Elise Stern PAGES

Total Page:16

File Type:pdf, Size:1020Kb

Elise Stern PAGES Jupiter and Io orreggio’s Jupiter and Io, now housed at the Kunsthistorisches Museum in Looking Vienna, is one of his more erotic closely, mythologicalC paintings. This piece is one of four we notice famous paintings done by Correggio, called The the Loves of Jupiter. They illustrate Ovid’s narrative distinct face poem, Metamorphoses. Each of the four paintings and hand of shows Jupiter seducing Jupiter coming his chosen target, out from the grey, foggy mass as he embrases Io, under a different and the vertical lines created by Io’s leg and spine disguise each time. draws the viewers eye down and around the This painting shows image. James Beck in Italian Renaissance Greek/Roman god, Painting observes the pale, cool colors created by Jupiter (Zeus) under the foggy mist playing against the warm tones of the guise of a cloud, the woman’s nude body, and the detailed contours visiting his mortal all fit the subject matter. Bruce Cole in Italian Art lover, Princess Io in hopes his jealous wife Juno (Hera) doesn’t discover them. 1250-1550 comments on the style and design of the painting, saying that Io is depicted as the perfect Renaissance beauty (despite the fact that she’s from ancient Greco-roman times) and that she remains the archetypal image of the soft, yeilding woman seen in This painting works from Correggio to Mantegna to captures my attention Picasso and more. Correggio created this particularly because painting for Fredrico II Gonzaga of Mantua of the artistic for him to display in his private “Ovid room” techniques Correggio in his Italian palace, Palazo Te. Soon after, uses to direct the the paintings were given as a gift to the viewer’s focus. The visiting Holy Roman Emperor, Charles V. dark, cloudy mass taking up the upper half of the image balances the glowing, warm colors on the lower half. The very first thing we see when we look at this image is Io’s body, and Correggio does a nice job of directing our attention up toward the face using vertical lines so we can more clearly see the grey face of Jupiter..
Recommended publications
  • THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
    17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists.
    [Show full text]
  • A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
    DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied
    [Show full text]
  • Ganymede Science Questions and Future Exploration
    Planetary Science Decadal Survey Community White Paper Ganymede science questions and future exploration Geoffrey C. Collins, Wheaton College, Norton, Massachusetts [email protected] Claudia J. Alexander, Jet Propulsion Laboratory Edward B. Bierhaus, Lockheed Martin Michael T. Bland, Washington University in St. Louis Veronica J. Bray, University of Arizona John F. Cooper, NASA Goddard Space Flight Center Frank Crary, Southwest Research Institute Andrew J. Dombard, University of Illinois at Chicago Olivier Grasset, University of Nantes Gary B. Hansen, University of Washington Charles A. Hibbitts, Johns Hopkins University Applied Physics Laboratory Terry A. Hurford, NASA Goddard Space Flight Center Hauke Hussmann, DLR, Berlin Krishan K. Khurana, University of California, Los Angeles Michelle R. Kirchoff, Southwest Research Institute Jean-Pierre Lebreton, European Space Agency Melissa A. McGrath, NASA Marshall Space Flight Center William B. McKinnon, Washington University in St. Louis Jeffrey M. Moore, NASA Ames Research Center Robert T. Pappalardo, Jet Propulsion Laboratory G. Wesley Patterson, Johns Hopkins University Applied Physics Laboratory Louise M. Prockter, Johns Hopkins University Applied Physics Laboratory Kurt Retherford, Southwest Research Institute James H. Roberts, Johns Hopkins University Applied Physics Laboratory Paul M. Schenk, Lunar and Planetary Institute David A. Senske, Jet Propulsion Laboratory Adam P. Showman, University of Arizona Katrin Stephan, DLR, Berlin Federico Tosi, Istituto Nazionale di Astrofisica, Rome Roland J. Wagner, DLR, Berlin Introduction Ganymede is a planet-sized (larger than Mercury) moon of Jupiter with unique characteristics, such as being the largest satellite in the solar system, the most centrally condensed solid body in the solar system, and the only solid body in the outer solar system known to posses an internally generated magnetic field.
    [Show full text]
  • The Nude Figure in Renaissance Art Thomas Martin
    19 The Nude Figure in Renaissance Art Thomas Martin The establishment of the nude as an independent and vital subject in post-antique western art occurred during the Renaissance and is, along with the use of perspective, one of the most important markers differentiating Renaissance art from medieval art. One factor driving these innovations was the desire to portray a world that conforms to visual reality, where objects decrease in size as they move away from the picture plane, and where human anatomy is rigorously understood. Just as Renaissance artists employed perspective to portray naturalistic spaces, so they also populated those spaces with proportional, anatomically accurate figures and, during the course of the fifteenth and sixteenth centuries, the occasions when those figures were depicted nude occurred more and more frequently. Naturalism, however, was but one motive for the increased use of the nude, and by the first half of the 1500s, the naked body had achieved a wider and more varied presence in art than had been the case in the Middle Ages or even in antiquity where, with few exceptions, its use was confined to male athletes, heroes, and divinities. This essay will focus on two issues: where is the nude used – i.e., what are its locations – and what are the meanings of its uses? As it is today, the body in the Renaissance was multivalent. European Christian society believed that as a cause of lust and sin, the body was fearful and needed to be covered up. Yet at the same time it was the form the Savior, Jesus Christ, took during his lifetime, and the Catholic Church taught that it is in our very own earthly bodies that, after the last trumpet, we will spend eternity either in bliss in Heaven or in despair in Hell.
    [Show full text]
  • VISUALISING with OVID Jo-Marie Claassen University Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stellenbosch University SUNScholar Repository WORD PICTURES: VISUALISING WITH OVID Jo-Marie Claassen University of Stellenbosch ABSTRACT Ovid verbally portrays three different modes of ‘seeing’. In the Metamorphoses readers mentally ‘watch’ his various protagonists seeing or being seen. In the elegiac poetry readers are often induced to share the field of vision of his protagonists. In Amores 3.2 and Ars Amatoria 1.135ff., readers ‘look’ with the lover and his mistress during ‘a day at the races’, virtually becoming both protagonists. In the exilic poems Ovid is sole viewer. ‘Something he saw that ruined him’ looms large in his imagination. The exile begins to rely solely on mental vision, ‘seeing’ the sights of Rome, conjuring up distant friends into his presence. Readers ‘see’ the lonely exile being comforted by his own inner vision. Introduction Videmus natura, spectamus voluntate, intuemur cura, aspicimus ex improviso. We see naturally, we look voluntarily, we watch something with care, and we inspect something if we have been surprised by it. (Ps.-Fronto, Gramm. 7.520.18 K = Charis. Gramm. P. 388.26) The four Latin verbs quoted above illustrate the fact that visual perception has various modes, which may be roughly characterised as the differences between the semantic implications of their approximate English equivalents ‘seeing’, ‘looking’, ‘watching’ and ‘scrutinising’. The four verbs chosen by Pseudo-Fronto for differentiating various modes of vision Grateful thanks to David Wardle, editor of Acta Classica, and the two anonymous referees, whose advice I tried scrupulously to follow, and also to two earlier readers, whose equally useful comments were relayed to me by Prof.
    [Show full text]
  • Women Artists and Female Imagery in EARLY MODERN EUROPE
    SECOND EDITION POLITICALLY INCORRECT Women Artists and Female Imagery IN EARLY MODERN EUROPE GINA STRUMWASSER California State University, Fresno Bassim Hamadeh, CEO and Publisher Michael Simpson, Vice President of Acquisitions and Sales Jamie Giganti, Senior Managing Editor Miguel Macias, Graphic Designer Kristina Stolte, Senior Field Acquisitions Editor Natalie Lakosil, Licensing Manager Claire Yee, Interior Designer Copyright © 2016 by Cognella, Inc. All rights reserved. No part of this publication may be reprinted, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfi lming, and recording, or in any information retrieval system without the written permission of Cognella, Inc. First published in the United States of America in 2016 by Cognella, Inc. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Cover image copyright in the Public Domain. Printed in the United States of America ISBN: 978-1-63189-023-9 (pbk) / 978-1-63189-024-6 (br) CONTENTS Dedication ............................................................................... ix List of Illustrations ...................................................................xi PART 1: CREATIVITY xviii Production of Art .....................................................................1 Introduction ................................................................................
    [Show full text]
  • The Project Gutenberg Ebook of Bulfinch's Mythology: the Age of Fable, by Thomas Bulfinch
    The Project Gutenberg EBook of Bulfinch's Mythology: The Age of Fable, by Thomas Bulfinch This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Bulfinch's Mythology: The Age of Fable Author: Thomas Bulfinch Posting Date: February 4, 2012 [EBook #3327] Release Date: July 2002 First Posted: April 2, 2001 Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK BULFINCH'S MYTHOLOGY: AGE OF FABLE *** Produced by an anonymous Project Gutenberg volunteer. BULFINCH'S MYTHOLOGY THE AGE OF FABLE Revised by Rev. E. E. Hale CONTENTS Chapter I Origin of Greeks and Romans. The Aryan Family. The Divinities of these Nations. Character of the Romans. Greek notion of the World. Dawn, Sun, and Moon. Jupiter and the gods of Olympus. Foreign gods. Latin Names.-- Saturn or Kronos. Titans. Juno, Vulcan, Mars, Phoebus-Apollo, Venus, Cupid, Minerva, Mercury, Ceres, Bacchus. The Muses. The Graces. The Fates. The Furies. Pan. The Satyrs. Momus. Plutus. Roman gods. Chapter II Roman Idea of Creation. Golden Age. Milky Way. Parnassus. The Deluge. Deucalion and Pyrrha. Pandora. Prometheus. Apollo and Daphne. Pyramus and Thisbe. Davy's Safety Lamp. Cephalus and Procris Chapter III Juno. Syrinx, or Pandean Pipes. Argus's Eyes. Io. Callisto Constellations of Great and Little Bear. Pole-star. Diana. Actaeon. Latona. Rustics turned to Frogs. Isle of Delos. Phaeton.
    [Show full text]
  • The Evolution of Landscape in Venetian Painting, 1475-1525
    THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
    [Show full text]
  • 1 Outline of Ovid's Metamorphoses
    1 Outline of Ovid’s Metamorphoses (...) denote the speaker; [...] denote the subject matter INTRODUCTION: CREATION AND DELUGE Book 1 1-4 Proem 5-88 Creation 89-162 Four Ages 163-208 Council of Gods [Human evil: Lycaon] 209-62 (Jupiter) Lycaon 263-312 The Flood 313-414 Deucalion and Pyrrha 416-51 Transition: Python and Apollo 1) GODS AND GODDESSES 452-567 Apollo and Daphne 568-87 Transition: Concourse of Rivers 588-746 Jupiter and Io 689-712 Inset: (Mercury)Syrinx 747-51 Transition: Epaphus Book 2 751-2. 400 Phaethon 401-530 Jupiter and Callisto; Juno 531-41 Transition: Juno, Peacocks, Argus and the Raven 542-627 Apollo and Coronis 549-95 Inset: (Crow) Cecrops’ daughters, Neptune and Coroneus’ daughter 628-32 Transition: Coronis’ son; Chiron and Ocyrhoe 633-75 Ocyrhoe 676-86 Transition: Chiron’s prayer; Jupiter; Mercury 687-707 Mercury and Battus 708-832 Mercury and Aglauros 833-45 Transition: Mercury and Jupiter Book 3 846-3.2 Jupiter and Europa 3-5 Transition: Europa and Cadmus 6-130 Cadmus 131-7 Transition: Cadmus and Actaeon 138-252 Actaeon 253-315 Semele 316-38 Jupiter and Juno: Tiresias 2 339-50 Transition: Liriope consults Tiresias about Narcissus 351-510 Echo and Narcissus 511-2 Transition: Tiresias 513-733 Pentheus and Bacchus Book 4 1-415 Bacchus in Thebes; Minyas’ daughters 55-388 Inset 55-166 (Unnamed daughter) Pyramus and Thisbe 167-89 (Leuconoe) Mars, Venus and Apollo 190-270 (Leuconoe) Apollo and Leucothoe 271-388 (Alcithoe) Salmacis 416-31 Transition: Bacchus, Ino and Juno 432-562 Juno, Ino and Athamas 563-603 End of Cadmus
    [Show full text]
  • Robert Lehman Papers
    Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General
    [Show full text]
  • Classical Mythology in Florence
    Tom Sienkewicz Monmouth College [email protected] Classical Mythology in Florence Museo Archeologico especially the Chimaera, and the François Vase Minos and Scylla, Theseus and the Minotaur (Ovid 8.1-185) Calydonian Boar Hunt (Ovid 8.260-546) Homer. Iliad XXIII (Funeral Games of Patroclus) Ulysses and Polyphemus (Ovid 14.160-220) Classical Mythology at the Duomo Porta della Mandorla, Campanile and Opera del Duomo Orpheus/Eurydice (Ovid 10.1-80) Daedalus/Icarus (Ovid 8.185-260) Public sculpture Piazza della Signoria and Loggia Dei Lanzi. Hercules and Cacus (Ovid. Fasti.1.540ff) Perseus and Medusa (Ovid 4.610-803) Classical Mythology in the Palazzo Vecchio Circe (Ovid 14.240-310) Rape and Intervention of Sabine Women (Livy 1.9-10) Hercules and Nessus (Ovid 9.1-150) Classical Mythology in the Studiolo di Francesco Primo Classical Mythology in the Palazzo Medici-Riccardi Rape of Persephone (Ovid 5.380-500) The Mythology in the Public Sculpture of Florence Apollo and Daphne 1.450-570 Classical Mythology in the Bargello Classical Mythology in the Uffiizi Classical Mythology in the Pitti Palace Classical Mythology in the Boboli Gardens especially the Grotta of Buontalenti Classical Mythology in the Medici Villa at Poggio a Caiano Hercules in Florence The François Vase c.570 B.C. found in tomb at Fonte Rotella near Chiusi in 1844-45 Made by Ergotomos Painted by Kleitias Side A Side B Calydonian Boar Hunt Theseus' Crane Dance The Funeral Games of Patroclus Battle of Lapiths and Centaurs The Marriage of Peleus and Thetis The Marriage
    [Show full text]
  • Excerpts from Ovid, Metamorphoses
    Ovid, Metamorphoses 1 EXCERPTS FROM OVID, METAMORPHOSES TRANSLATED BY IAN JOHNSON AVAILABLE ON LINE (FULL VERSION OF BOOKS 1-3) AT HTTP://RECORDS.VIU.CA/~JOHNSTOI/OVID/OVID1.HTM (1) APOLLO AND DAPHNE The story begins just after the young god Apollo has established himself as an adult, powerful god by killing the dragon/serpent Python and claiming its former grounds as the site for his most significant sanctuary, Delphi. Apollo’s first love was Daphne, the daughter of Peneus.* It was not blind chance which made him love her, but Cupid’s savage rage. The Delian god, proud of his recent conquest of the snake, saw Cupid flexing his bow, pulling back the string, and said to him:* “Impudent boy, why are you playing with a man’s weapon? Carrying that suits shoulders like my own, since I can shoot wild beasts and never miss and wound my enemy. I am the one who with my countless arrows has just killed that swollen Pytho, whose venomous gut covered so many acres. Stay content kindling any kind of love you fancy with that torch of yours, but do not pre-empt those praises due to me.” The son of Venus then replied to him:* “O Phoebus, your bow may strike all things, but mine can strike at you. Just as all animals are less than gods, so, to the very same extent, your fame is less than mine.” Cupid spoke. Keen to act, he struck the air with beating wings and stood on the shady peak of Mount Parnassus. He pulled out two arrows from his quiver, Ovid, Metamorphoses 2 each with a different force.
    [Show full text]