Kalliope’s Comments (group member since Aug 28, 2018)

Kalliope’s comments from the Ovid's Metamorphoses and Further Metamorphoses group.

Fionnuala wrote: "Just to say I'm following the discussion with much interest — and viewing the art with great pleasure."

Waving back....!!!!

:)

Thank you for identifying yourself amongst the readers...!!!

Roman Clodia wrote: "

One of the most explicit Europa images with the bull, based on an Athenian vase c.480 bce."

This is wonderful.... Modern artists invented little..

Roger wrote: "an explanation for the ubiquity and resonance of seduction/abduction/rape scenes in the Metamorphoses and certainly in the later depiction of them. I suggest that they play out the fear of marriage/deflowering in many a young woman's mind, but also the possible rewards that such a state might bring...."


I saw this playing also on the fear, on the male side, of marrying a non virgin... I imagine with two concerns in mind - one sheer pleasure/ vanity for 'being the first and only one' but also for making sure the woman was not arriving to the marriage already pregnant.

Roman Clodia wrote: "Roman marriage ritual actually played out the 'abduction' scenario hence the carrying of the bride over the threshold of the new husband's house which we theoretically retain.

We see it, too, in ..."

This is fascinating, RC, and explains many things.

I also saw the 7 Brides.... film ages ago, and probably dubbed, so the play of words was completely lost to me.

Roger wrote: "There is a ceremonial quality to all of these images that links them just as much as the abduction theme does. Once again, I wonder about the Europa story as a symbol of marriage…?
.."

These Roman examples are beautiful.

And yes, the popularity of the myth could have been due to its being used for marriage scenes. To our C21 eyes this seems weird, but I have seen worse stories for Renaissance wedding furniture.

Not only is the Europa theme prolific but also one of the few that are still explored by modern artists.

We have so far the Beckmann, the Picasso and the Lipschitz.

But my favourite of the ones I have seen of modern art is this one:

Valentin Serov. 1910. Tretyakov Gallery.



Europa is less sensuous than delicate. Jupiter very powerful. And the dolphins are exquisite.

How very prolific the Europa myth has been for artists.

Thank you, Roger, I was going to post the National Gallery version of the Veronese, which keeps a similar composition, but turned around - which made me think of prints.

Since I saw the first version of Veronese, I posted recently (we had in the Thyssen an exhibition on 'The Triumph of Beauty and the Destruction of Painting' in Venetian art) I remember how struck I was by the licking of the foot, and also by her resting her other foot on the God's hoof (implying she is sort of acquiescing)....

Interesting that he repeated it in his other versions.

Roger wrote: "I looked it up in Rolfe Humphries, which is all I have with me just now, and he makes the whole thing seem so much more gentle:

..."

Gosh, yes, Roger... this is very different...

And that version seems much more in accord with the painterly renditions.

On the Herse and Aglaurus story there are several paintings. It seems to have been very popular among the Norther schools.


One very much in the Rubens's mode.

Jan Boeckhorst. 1650-55. KHM Vienna.



A very different rendering, with emphasis on the landscape - Ovid's text certainly delights in describing the fields of Munychia, with the Lyceum.


Paul Bril. 1605. Chatsworth House.




And by the same artist posted above in Diana & Callisto.


Cornelis van Poelenburgh. 1625. Gallery Prince William.

I am a bit confused with the Ocyrhoe, who is turned into a mare as a sort of punishment for having revealed too much with her prophecies. Another case of a woman losing her speech.

She says that it is the Fates who interrupt her, but then later on her father, Chiron, appeals to Apollo who is however not powerful enough to stop Jove's doing.

So, it was Jove (through the Fates?) who punishes Ocyrhoe?

Elena wrote: "I’m so impressed with the audience that can follow all the many colorful characters and interlaced plot lines —- audience both as the ancient listeners and later the viewers of intricate narrative ..."

Interesting questions, Elena.

In the case of the 'poesia' series that Titian painted for Philip II, some letters have survived. I have not read them. But both the subjects and the manner in which they were painted were discussed. Titian's letters go into more detail than did the King's (unsurprisingly). But the patrons knew the stories. Philip had 3 copies of the Metamorphoses. At least in the Renaissance, cultivated people would have been very familiar with the stories.. That is why it is interesting to see which sections/elements of the story are selected, but also, how...

In the Veronese the way the bull is licking Europa's foot is so telling... That is all the painter's invention.

Historygirl wrote: "I’m still struggling over why Ovid is considered comic and witty. The paintings are wonderful at expanding the vision of what might be happening in each story, but not the whole.
One thought is th..."

I am finding the witticism in some specific moments...

But I agree with you, Historygirl, in how disconcerting the sequence of stories is... In my reread I am making note for myself of what is the connecting link between one story and another...

This as well as the themes of 'speech/muteness' and also the characteristics of being a deity are the elements that, apart from the paintings, I am tracking.

The explicit presence of the Narrator, from time to time, is also to be noted.

This is all about storytelling...

Another rendering which I saw not too long ago, is Veronese.

He puts the emphasis on the seduction scene, rather than the 'kidnapping'. Europa is fascinated by the beauty of the bull and has, so far, just dared to sit on his croup. Her companions are offering the garlands and there is an overall festive scene. Note how the bull is licking one of her feet, while she rests the other on top of the bull's hoof.

All the sensuality and none of the drama is seen in the foreground.

In the back, on the left, however, we see how the story proceeded when the Bull is taking her towards the shore and finally sets off.

Veronese. 1578. Palazzo Ducale.


There is a later version by Veronese.


Veronese. 1581-84. Capitoline Museums.

The subject of the Rape of Europa has been a very popular one with painters in the Western tradition, one that has been even treated by modern artists.

One thing though about the title 'Rape of Europa" - it was not used as a title for this painted scene until much later. Titian called it 'Europa and the Bull'.

Of the old school, the most famous is Titian's. It formed part of the six 'poesie' that Titian painted for Philip II. It was one of the later works and therefore in the painter's looser handling of his brushstroke. There was probably going to be a seventh painting but it was never delivered.

It was highly successful and was copied by various artists several times, including Rubens, who kept his own version.

Titian. 1560-62. Isabella Stewart Gardner Museum in Boston.



Titian follows the text in several details :

Europa now is terrified; she clasps
one horn with her right hand; meanwhile the left
rests on the bull's great croup She turns to glance
back at the shore, so distant now. Her robes
are fluttering -- they swell in the sea breeze.
(Mandelbaum)

This painting has had an interesting life. And the book The Rape of Europa: The Intriguing History of Titian's Masterpiece traces it. Its life has paralleled that of the 'metamorphosis' of nations - staying in any particular country at the time of its highest power. In this case: Venice - Spain - France and currently in the US (with the assistance of the UK).

The Prado holds now the copy by Rubens, which he carried out during his second visit to the Spanish court. He kept it for himself but upon his death it war purchased by the Spanish king, Philip IV (Velázquez's patron) and we will come back to this painting when we tackle the myth of Arachne.

Rubens. 1628-29. Prado Museum.

Roman Clodia wrote: "Arguably, though, Diana does punish Callisto by expelling her from the group, leaving her isolated and without community. Even if we don't factor in Ovid's exile, the concept is a powerful one in t..."

Yes, certainly.. it's just that in my second read I realised the metamorphosis was not prompted by Diana.

On Arcas, again, not a major episode for the pictorial renditions, so I have only found a print.


Hendrik Goltzius (after)-(1558-1617).



Jupiter stopping Arcas is not shown, but a bear can be seen on the right, in the skies. I only see one bear.

Roger wrote: "Callisto Paintings: heroic, and not so much

..."


Roger, as I have just reread the Callisto episode, I have looked again at your paintings.

I am struck by the different treatment between Titian and Rubens.. The former shows Diana in command and Callisto portrayed completely ashamed.

While Rubens's rendition centres on Callisto. Also showing regret but with a certain pathos rather than real guilt. Diana, on the left, is not shown as powerful as in Titian's rendition.

I paid more attention to the text this time, and it is not Diana who punishes Callisto, but Juno. Diana just expels her.

We have a somewhat humorous (for 21C eyes) rendition of the episode by the Flemish:

Karel Philips Spierincks. Early 17C. Philadelphia Museum of Art.



In this version we see, in the background on the left, Juno dragging poor Callisto by the hair...

Another aspect that is striking me is the limitations and disadvantages of being a god.

Phoebus tells Phaeton that he wants something that 'not even the gods can have'.

In Book 1 Inachus complains that being a god and immortal is a curse, since he will continue suffering for Io for the rest of his existence...

There are more cases of this peculiar status of divinity... I will post them later on.

Elena wrote: "with Ovid as an endless source for transposing emotions to a safer sphere for visualizing difficult but tantalizing subjects.... .."

Yes, very true, Elena... Ovid transposing emotions onto a safer arena... which reinforces my idea of how all this mythological lore seemed both very familiar but also somewhat estranged in Ovid's world... There is a certain detachment from all these gods and goddesses...

Roman Clodia wrote: "

Is it too obvious to say that many (not all) of these stories are concerned with the muting of women?"

Unfortunately, yes... mostly women left speechless.

I am rereading the Phaeton episode and noticed this time that also Earth, is prevented from speaking by the reigning smoke. Although she finally succeeds and implores Jove to put a stop at the disaster.