Classical Mythology, 7th Edition - obinfonet: dia logou

15. Earth: Vertumnus and Pomona, by François Boucher (1703-1770). Oil on canvas,
1749, 34V2 x 53V2 in. Earth is one of a planned series representing the Four Elements
by means of classical myths. The legend of Pomona and Vertumnus illustrates
the fertility and variety of Earth. Pomona is shown as a beauty at the court
of Louis XV in a pastoral scene such as was produced in the court ballets and operas
at Versailles. The deception of Vertumnus is indicated by the mask held up by
the cupid, and his intentions are made clear by the lascivious head of Pan on the
urn at the right and by the fountain on the left with Cupid riding a dolphin.
16. Ariadne Asleep on the Island ofNaxos, by John Vanderlyn (1775-1852). Oil on canvas,
1814; 68 X 87 in. Ariadne lies asleep, unaware that Theseus (who can be seen in the
background at the right) is setting sail. Painted in Paris, this is one of the earliest
nudes by an American painter to have been exhibited in America. Vanderlyn
hoped that his masterpiece "while not chaste enough ... to be displayed in the
house of any private individual . . . [would] attract a great crowd if exhibited publicly."
17. Jupiter and Semele, by Gustave Moreau (1826-1898). Oil on canvas, 1895; 83V2 X 46V2
in. This exuberant representation should be compared with the economical sketch
by Rubens (shown on page 271). Jupiter, young and beardless, sits enthroned ('Tike
an Indian Rajah," it has been said) with the dying Semele over his right knee. His
eagle, with open wings, is at the base of the throne, behind the figure of Pan. At
the bottom is the "realm of Erebus," and all around are symbolic figures drawn
from Moreau's reading of Ovid and modern literature, with architectural details
and ornamentation from Greek and oriental traditions. Moreau considered this
work to be his masterpiece, yet it was never publicly exhibited. (Paris, Musée Gustave
Moreau).
18. Pandora, by Odilon Redon (1840-1916). Oil on canvas, ca. 1910; 56V2 X 24V2 in.
Pandora, holding her box, is framed by jewellike flowers, but above her is a leafless
tree. Redon used symbols "to clothe ideas in a sensuous form" (in the words
of the Symbolist Manifesto of 1886). This painting is nearly contemporary with
Freud's Interpretation of Dreams (1900). Like Freud, Redon used the symbols of
mythology to express his innermost ideas and emotions.
19. Icarus, by Henri Matisse (1869-1954). Stencil print of a paper cutout, 1947; 16V2 X
25V2 in. This is Plate 8 (p. 54) in Matisse's Jazz (Paris: Tériade, 1947). The plates
were printed from paper cutouts pasted on and painted through stencils. He wrote
the text in his own firm handwriting, and opposite Icarus is the last of seven pages
titled L'Avion (The Airplane). Matisse reflects on the freedom in space experienced
by air travelers, then he concludes "Ought one not to make young people who
have finished their studies take a long journey in an airplane." The red heart of
Icarus—symbol of his courage and creativity—stands out in the black silhouette
against the sky and stars that he tried, and failed, to reach.
20. Hector and Andromache, by Giorgio de Chirico (1888-1978). Oil on canvas, 1917;
35V2 X 23V2 i n - Husband and wife, mannequins backed by receding frames, part at
the Scaean Gate in an austere, stagelike setting with receding perspective. They are
sheathed in geometrically shaped metallic plates, and the baby Astyanax is reduced
to a steel wedge with a black disk for his head. De Chirico's images of the
intersection of war and the family are a disturbing interpretation of Homer's moving
scene.
21. Landscape for Philemon and Baucis, by David Ligare (b. 1945). Oil on canvas, 1984;
32 X 48 in. The cottage of Baucis and Philemon has become a temple, while they
have been transformed into the intertwined trees on the right. The lake conceals
the homes of the villagers who were so inhospitable to Zeus and Hermes. The size
of the trees and the ruinous state of the temple indicate that the metamorphosis
took place long ago.