Mitología - History Lab

Dánae, Titian

ad_hlab_min — Sat, 19 Feb 2022 16:32:12 +0000

Titian executed the so-called Poesias, commissioned by Philip II. Several mythological scenes, with a deeply erotic content, which are now in various museums in Madrid, London, Edinburgh and Boston. The one in the Hermitage does not appear to be part of this cycle, but it is very similar, with other Danaes by Titian in London (Wellington Collection) and Naples (Museo di Capodimonte)

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Ticio

ad_hlab_min — Sat, 19 Feb 2022 16:31:59 +0000

One of Ribera’s two Furies, together with Ixion. Based on mythological figures punished by the gods, it extols the punishment deserved by rebels and traitors who rise up against their sovereigns. Ribera follows in the footsteps of the great masters who had already worked on this theme: Titian and Rubens.

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Apollo and Daphne

ad_hlab_min — Sat, 19 Feb 2022 16:31:59 +0000

Emblem of Baroque sculpture. A masterpiece by Bernini, representing one of the Metamorphoses narrated by Ovid. It reflects the taste of the papal court, in this case of Cardinal Scipione Borghese, for mythological themes, which connect with the humanist and refined training, concerned with the themes of Antiquity.

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Dánae

ad_hlab_min — Sat, 19 Feb 2022 16:31:59 +0000

Mythological painting showing how Venus gave in to one of her lovers, transforming herself into a shower of gold, in order to avoid imprisonment. It was commissioned by the Duke of Mantua, together with three other mythological works. The elevation of Mantua to a duchy led the Gonzaga to give them as a gift to the Emperor Charles V. Its author, Correggio, is one of the great references of Mannerism

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Autorretrato touching the spinet

ad_hlab_min — Sat, 19 Feb 2022 16:31:28 +0000

Lavinia Fontana (1552-1614) was born in Bologna and was the daughter of the painter Prospero Fontana, who trained her in the family home. She was responsible for running her own workshop and her works were commissioned by Pope Clement VIII. She is noted for her cultivation of genres of painting that were normally beyond the reach of women, such as group portraits, altarpieces, landscapes and, in particular, paintings on mythological themes in which she included nudes, a highly unusual detail. In this small self-portrait, executed on the occasion of her engagement to Giovanni Paolo Zappi, Lavinia wished to demonstrate her wide-ranging culture, solid education and careful manners. The Latin inscription in the upper left corner shows that Fontana painted his portrait in front of a mirror: “ex especulo imaginem oris sui expresit”.

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