When she does, he edges to the water, and suddenly bolts over the sea.
Out of three hundred sixty completed works, five displayed tales from the Metamorphoses, five depicted goddesses, a Carthaginian queen, all of which only five represented myth subjects. This is the famous rape of Europa, although here Ovid only tells us of her abduction, another of Jupiter’s adulterous acts. According to the legend, Europa was the epitome of feminine beauty on Earth. Rembrandt did not complete many mythological subject paintings. Press Esc to cancel. The Abduction of Europa. Metamorphoses. and not a moment resting bore her thence, Artistically, The Abduction of Europa reflects the attitudes and interests of Rembrandt and other Dutch painters during the early to mid seventeenth century. Post was not sent - check your email addresses! or laid his snow-white side on the smooth sand, Under the glowering eyes of the eagle, the floral romp of accessory figures is being dispersed in disarray. Rembrandt’s work is set in a realistic setting, removing the cherubs from the work, instead placing the story in a highly familiar nature setting for his Dutch audience, Specx. These are common to most of the other accounts of this myth. As for me, I’ll stick with the Titian/Rubens, which convey Ovid’s words better than any other. Ithica, New York; Cornell University Press,1989. He was also named Director of the French Academy of Painting, hence occupying the pinnacle of power in the French art world during the last decades of the monarchy. All rights reserved. His unusual surging stance suggests the wave of passion carrying Europa away.
Majesty is incompatible truly with love; they cohabit. Jove laid aside his glorious dignity, and placed his feet, that seemed but shining hoofs, He painted varied subjects, including many self-portraits. He quoted an unnamed ancient source that stated that the abducted princess was representative of “the human soul, borne by the body through the troubled sea of this world”. 1984. The name of Europa is mentioned in many contexts, most of which deal with the divine union between a young girl and Zeus. The Story. The High Baroque was also present in the Ruben’s work that Rembrandt studied. Artistic interests like genre, landscape, and myth painting, all combine in this one work. [1] The inspiration for the painting is Ovid’s Metamorphoses, part of which tells the tale of Zeus’s seduction and capture of Europa. The Rape of Europa By Ovid. [6] The painting certainly was in Specx’s possession, along with five other portrait pieces, which Rembrandt was popularly known for completing. For Ovid, this is a cliffhanger ending to the book which leads the reader into the start of Book 3. the god moved from the land and from the shore, Brookes More. The harbor is representative of the busy trading ports in both Tyre and Europe. Amy Golahny, in a dissertation, justifies this thought. Nowhere together. [7] Van Mander’s book Het schilder-boeck released a second edition in 1618. [17] The idyllic shore and the detailed reflections in the water show the growing interest in naturalism in art. This detail strengthens the parallel between Tyre and the Dutch ports, as Rembrandt attempts to connect the story to Specx’s livelihood. but, daring not to touch him, stood apart All contents © 2017 Dallas Museum of Art. Rembrandt’s The Abduction of Europa displays much about the artistic influences of his time. When she beheld his beauty and mild eyes, so small and beautifully set, appeared The final myth in Book 2 of Ovid’s Metamorphoses is told very briefly – in less than thirty lines of Latin – and ends part way through the story. The Abduction of Europa is Rembrandt’s reinterpretation of the story, placed in a more contemporary setting. The subject and its allegorical meaning can be attributed to the patron, the artist, and a Belgian art biographer, Karel van Mander, whose theories entertained Rembdrant. Let us know ! In 1770 Jean-Baptiste Marie Pierre succeeded his famed older rival, François Boucher, as First Painter to King Louis XV. Translated by Daryl Hine. Westermann, Mariët. [25] Rembrandt’s work is less serious a depiction of the violence, but still keeps the climatic moment alive. [3] Rembrandt occasionally used these mythological paintings as allegory, applying the tale to some Christian theme or a moral tradition.[4]. He developed an interest in the classical world early in his life while in Amsterdam. [2] Rembrandt moved to Amsterdam in 1631 because the city was a growing business-oriented center where Rembrandt found work with great success. Rembrandt Harmenszoon van Rijn’s The Abduction of Europa (1632) is one of his rare mythological subject paintings. [15] The portrayal of Tyre, though, seems fairly modern with the inclusion of a crane, a tool which did not exist in the first century when Ovid was alive.
kissed her sweet hands, and could not wait her will. He gives a fuller account of this myth elsewhere (in his Fasti), as do many other classical authors. Rembrandt’s The Abduction of Europa (1632) is almost contemporary with Rubens’ copy, and not one of his better-known works. she offered,—tempting, to his gentle mouth: [18] Naturalism plays a strong part in other aspects of the piece. The piece is oil on canvas and now located in the J. Paul Getty Museum. The use of an ancient myth to impart a contemporary thought and his portrayal of the scene using the High Baroque style are two strong aspects of the work. There was also a growing interest in historical landscape painting in Southern Netherlands.
This style was popular in Leiden, his birthtown. It conforms to the version in Metamorphoses, but loses dramatic effect by placing the bolting bull in a much larger (and very Dutch) landscape, dominated by Europa’s carriage, large trees, and a distant port. Rembrandt also uses light to further dramatize the piece, as seen by the glittering of gold on the dresses and carriages. and then the loving god in his great joy I also struggle with their use of Cupids, when Europa was not seduced, but abducted and raped. Schwartz, Gary.
then, near him, fragrant flowers in her hand
held on his ample back—and in the breeze In 8 AD the Roman poet Ovid wrote "The Metamorphoses," fifteen books of a narrative poem that became one of the most popular works on mythology. Surprisingly few painters felt it necessary to include an eagle in their paintings of Europa. between his shoulders; and his polished horns, [10] Rembrandt’s painting is set just as Europa is whisked away, as seen by the bull and young lady in the ocean in the painting. Boucher's painting, today in the Wallace Collection, London, depicts Jupiter in the guise of a bull gently winning the confidence of Europa, who drapes his horns with a crown of flowers. Ovid’s account of the abduction of Europa is found in Book II 833-75 of Metamorphoses. Jupiter (the white bull) takes Europa off to Crete, where he rapes her. The royal maid, The snag with the Titians and Rubens’ copy is that they assume the viewer will recognise the scene, and know that the white bull is actually Jupiter. This time, Jupiter assumes the appearance of a white bull, placed among a herd which is visited by Europa and her companions: As her courage grew Jove then began to frisk upon the grass, while she affrighted gazed upon the shore— the love of peace was in his countenance.
[19] The depiction of Europa on the bull combines these details: there is a clear reflection of the figures in the water, her dress has golden threads, and even her jewelry reflects some light. Europa falls for his trap, and befriends the white bull: London: Phaidon, 2000.
The relationship also alludes to Europa’s impending new destination, where she will give Europe her name. The painting shows a coastal scene with Europa being carried away in rough waters by a bull while her friends remain on shore with expressions of horror. While the influences of Titian’s Europa (1560–62) are recognizable, Rembrandt’s work is unique. Europa is not sat astride the bull, but reclines in a manner which anticipates her fate on Crete. A few years later, Jean-Baptiste Marie Pierre painted his The Rape of Europa (1750), which at least advances the story to the point where the bull is accelerating away from the shore. New York: Viking, 1985. Rosenberg, Jakob. for he assumed the semblance of a bull 95.PB.7. His ribs and chest muscles arch in dramatic tension, though the rosy flesh tones of his body are as voluptuous as the female nudes nearby. Art historians, like Mariët Westermann and Gary Schwartz interpret the painting as a reference to Specx’ career. Both pieces reflects the heightened drama of the piece, but Titian’s work is more violent in nature. Then by degrees François Boucher’s The Rape of Europa (1732-34) is one which does this favour to the viewer, although he seems to have ignored the fact that the bull was white.
yellow and golden.
Rembrandt. Boston. This piece is only one of the mythological subject he completed, but Rembrandt’s others display many of the same influences as this. with her right hand, and, steadied by the left, Rembrandt, his life, his paintings. The book was produced in Amsterdam and included details about many Netherlands painters. Rembrandt Harmensz. so fast receding. In the story, Zeus whisks Europa away to Crete. There is a port in the background, a reference to the busy port of the Tyre. his colour white as virgin snow, untrod, her waving garments fluttered as they went. Ovid’s account of the abduction of Europa is found in Book II 833-75 of Metamorphoses. When Europa and her friends notice the bull retreating further into the sea without coming back, the bull transforms into Zeus and carries her to Mount Olympus on the island of Crete. This page was last modified on 17 February 2016, at 17:48.
The literary comments of van Mander are essential to deconstructing the allegorical subject of Europa. I have now got to the start of Book 3, with just another twelve to go after that… Begin typing your search above and press return to search. Adding Timing Features to an App: Tinderbox and Storyspace, Updates: Sierra, High Sierra, Mojave, Catalina, Big Sur, SilentKnight, silnite, LockRattler, SystHist & Scrub, xattred, Metamer, Sandstrip & xattr tools, T2M2, Ulbow, Consolation and log utilities, Taccy, Signet, Precize, Alifix, UTIutility, alisma, Text Utilities: Nalaprop, Dystextia and others. Serious drama cedes to a lighthearted atmosphere, colored by the frivolous, even amoral, excesses of the court at the end of the Ancien Régime. Have additional info? Even in this succinct summary of the abduction phase, there are some key facts: Jupiter masquerades as a white bull, and lures Europa to sit on his back. [12] Van Mander theorized that the bull, which is Zeus in the classical tale, is really the name of a ship that bore Europa from her eastern home of Tyre to the western continent that adopts her name.[13]. [16] Most scholars agree that this narrative was chosen specifically by Rembrandt to reinterpret and mirror Specx’s career. But it does introduce a new and valuable device: on the cliff above Europa is a black eagle, signifying Jupiter’s presence. Golahny, Amy. Many of those are superb paintings, but only a few have made serious attempts to tell this story faithfully to the myth. I am very grateful to Perseus at Tufts for this. in shallow water by the sandy merge; London: Yale University Press, 2006. The abduction of Europa has long been one of the most popular stories for paintings, and innumerable artists have painted its scenes. Rembrandt Life and Work. “The Abduction of Europa,” The J. Paul Getty Museum, 2013, [1], “Europa,” The Isabella Stewart Gardner Museum, 2014, [2], From Infogalactic: the planetary knowledge core, Diana Bathing with her Nymphs with Actaeon and Callisto, Pendant portraits of Maerten Soolmans and Oopjen Coppit, Self-portrait wearing a white feathered bonnet, Self-Portrait with Beret and Turned-Up Collar, Ahasuerus and Haman at the Feast of Esther, https://infogalactic.com/w/index.php?title=The_Abduction_of_Europa_(Rembrandt)&oldid=705477010, Creative Commons Attribution-ShareAlike License, About Infogalactic: the planetary knowledge core.
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