MYTHOLOGICAL GENRE
MYTHOLOGICAL GENRE(from the Greek mythos - legend) is a genre of fine art dedicated to the heroes and events about which the myths of ancient peoples tell. All peoples of the world have myths, legends, and traditions, and they are the most important source artistic creativity in the early stages of their history, starting with primitive art (although the myths that formed the basis of the images known to us often have not reached us). But in eras when mythology was a living, comprehensive, constantly developing phenomenon, one of the foundations national consciousness, she could not stand out as a separate genre different from others. The beginnings of M. arose in late antique and medieval art, when Greco-Roman myths ceased to be beliefs and became literary stories with moral and allegorical content. Actually M. formed during the Renaissance, when ancient legends provided rich opportunities for the embodiment of stories and characters with very complex ethical, often allegorical overtones (paintings by Sandro Botticelli, Andrea Mantegna, Giorgione, frescoes by Francesco Cossa, Raphael). At 17 – beginning. 19th century The range of philosophical, moral, and aesthetic problems reflected in the works of M. Zh. is significantly expanding, sometimes serving to embody a high artistic ideal (paintings by Nicolas Poussin, Peter Powell Rubens), sometimes closer to life (paintings by Diego Velazquez, Rembrandt), sometimes creating a festive spectacle (paintings by Francois Boucher, Giovanni Battista Tiepolo). In the 19th century M.f. serves as the norm of high, ideal art (sculpture by Antonio Canova, Bertel Thorvaldsen, I. P. Martos, paintings by Jacques Louis David, Dominique Ingres, A. A. Ivanov), which in the academic salon art of the middle. and 2nd floor. century acquired the character of a cold and lifeless routine, which played a significant role in the revolt of young Russian artists in 1863. Along with the themes of ancient mythology in the 19th - 20th centuries. Themes of Germanic, Celtic, Indian, and Slavic myths became popular in art. In the beginning 20th century Symbolism and Art Nouveau style revived interest in women's art. (Maurice Denis, M.A. Vrubel), which received a modern rethinking in the sculpture of Aristide Mayol, Antoine Bourdelle, S.T. Konenkov, and in the graphics of Pablo Picasso.
Section VI. Historical genre and its varieties
Topic 27. Mythological genre
Myths, legends and traditions are an important source of artistic creativity of peoples in the early stages of their history. This is a legend about the ancient beliefs of people about the origin of the Earth, natural phenomena, gods, heroes, the Universe.
Works of fiction of the mythological genre depict not real, but imaginary events and heroes who are endowed with extraordinary abilities.
Mythological genre - images of events and heroes of myths and legends various peoples world in fine arts.
Nicholas Roerich. Svyatogor
The mythological genre began to stand out among other genres of fine art when myths turned from beliefs into literary works, images of which were depicted by artists. Ancient myths reflect the life and adventures of the gods and the exploits of heroes.
The mythological genre flourished during the Renaissance, when ancient legends encouraged artists to create paintings and sculptures with corresponding subjects. Works of the mythological genre personified the high ideals of the art of antiquity. Subsequently, themes from myths were added to ancient myths in art. different nations: Scandinavian, Slavic, Indian and the like.
Compare the depiction of a mythological image in sculpture and painting.
Diana of Versailles. Roman copy from the Greek original by Leochares
Walter Crane. Diana and Endymion
The plots of ancient myths became widespread in painting, sculpture, book graphics.
Consider works of the mythological genre. Find out what ancient myths they illustrate.
Orpheus, fragment of an old mosaic from Tarsus
Sculpture of Neptune (m. Copenhagen, Denmark)
Edward Burne-Jones. Mirror of Venus
IN different times Mythological images attracted artists from many countries, who embodied them in their own way.
Consider works of the mythological genre in graphics and painting. By what means of artistic expression did the artists reveal the episode from the myth?
Mikhail Pikov. Hector's farewell to Andromache
Angelina Kaufman. Hector's farewell to Andromache
Compare the mythological image of Europe as interpreted by various artists (composition, color, decorativeness, etc.).
Virginia Sterett. Europe on a bull
Valentin Serov. The Kidnapping of Europa
Compare the image of the legendary Trojan hero Aeneas in wall paintings and book graphics. Pay attention to clothes, hats, weapons. Can you notice national motifs in the illustrations of the Ukrainian graphic artist?
Wounded Aeneas. Wall painting in Pompeii
Giovanni Battisto Tiepolo. Venus appears to Aeneas off the coast of Carthage (behind Virgil)
Georgy Narbug. Illustration for I. Kotlyarevsky’s poem “Aeneid”
Practical task
Draw an illustration of the ancient mythological story that interests you the most (art materials of your choice).
Pay attention to creating an expressive, characteristic image of the main character. Draw clothes, things inherent in a long-ago era.
Examples of antique attire, weapons, ornaments
Questions and tasks
1. What ancient myths are common in fine art?
2. Name the types of fine art in which the mythological genre has gained popularity.
Independent work for the curious
1. Ask what works of sculpture dedicated to mythological characters antiquity, exist on the territory of Ukraine.
2. Watch cartoons based on the myths of Ancient Greece.
Historical genre
Mythological genre
Victor Vasnetsov."Christ Pantocrator", 1885-1896.
Historical genre, one of the main genres of fine art, dedicated to the recreation of past and present events that have historical significance. The historical genre is often intertwined with other genres - everyday genre(the so-called historical-everyday genre), portrait (portrait-historical compositions), landscape ("historical landscape"), battle genre. The evolution of the historical genre is largely determined by the development of historical views, and it was finally formed together with the formation of a scientific view of history (completely only in the 18th–19th centuries).
Victor Vasnetsov."The Word of God", 1885-1896
Its beginnings go back to conditionally symbolic compositions Ancient Egypt and Mesopotamia, to mythological images
Ancient Greece, to documentary-narrative reliefs of ancient Roman triumphal arches and columns. The historical genre itself began to take shape in Italian art Renaissance -
in the battle-historical works of P. Uccello, cardboards and paintings by A. Mantegna on themes of ancient history, interpreted in an ideally generalized, timeless manner by the compositions of Leonardo da Vinci, Titian, J. Tintoretto.
Titian."The Rape of Europa", 1559-1592
Jacopo Tintoretto. "Ariadne, Bacchus and Venus."
1576, Doge's Palace, Venice
Jacopo Tintoretto. "The Bathing of Susanna"
Second floor. XVI century
Titian. "Bacchus and Ariadne". 1523-1524
In the 17th–18th centuries. in the art of classicism, the historical genre came to the fore, including religious, mythological and historical subjects; Within the framework of this style, both a type of solemn historical-allegorical composition (C. Lebrun) and paintings full of ethical pathos and inner nobility depicting the exploits of heroes of antiquity (N. Poussin) took shape.
Nicolas Poussin."Landscape with Orpheus and Eurydice", 1648
The turning point in the development of the genre came in the 17th century. works by D. Velazquez, who brought deep objectivity and humanity to the depiction of the historical conflict between the Spaniards and the Dutch, P.P. Rubens, who freely combined historical reality with fantasy and allegory, Rembrandt, who indirectly embodied memories of the events of the Dutch revolution in compositions full of heroism and inner drama.
P. Rubens. "Union of Earth and Water"
1618, Hermitage, St. Petersburg
P. Rubens."Diana Going Hunting", 1615
P. Rubens."The artist with his wife Isabella Brant", 1609
Rubens."Venus and Adonis", 1615
Metropolitan, New York
In the 2nd half of the 18th century, during the Enlightenment, the historical genre was given educational and political significance: paintings by J.L. David, depicting the heroes of republican Rome, became the embodiment of feat in the name of civic duty, sounded like a call for revolutionary struggle; in years French Revolution 1789–1794 he depicted its events in a heroically elated spirit, thereby equating reality and the historical past. The same principle underlies historical painting masters of French romanticism (T. Gericault, E. Delacroix), as well as the Spaniard F. Goya, who saturated the historical genre with a passionate, emotional perception of the drama of historical and modern social conflicts.
Eugene Delacroix. "Women of Algeria in their chambers."
1834, Louvre, Paris
In the 19th century, the rise of national consciousness, the search for historical roots their peoples determined the romantic mood in the historical painting of Belgium (L. Galle), the Czech Republic (J. Manes), Hungary (V. Madaras), Poland (P. Michalovsky). The desire to revive the spirituality of the Middle Ages and the Early Renaissance determined the retrospective nature of the work of the Pre-Raphaelites (D. G. Rossetti, J. E. Milles, H. Hunt, W. Morris, E. Burne-Jones, J. F. Watts, W. Crane and others) in Great Britain and the Nazarenes (Overbeck, P. Cornelius, F. Pforr, J. Schnorr von Carolsfeld, etc.) in Germany.
George Frederick Watts."Ariadne on the Island of Naxos".1875
Edward Burne-Jones."The Mirror of Venus", 1870-1876
Edward Burne-Jones."Star of Bethlehem", 1887-1890
The mythological genre (from the Greek mythos - legend) is a genre of fine art dedicated to events and heroes about which the myths of ancient peoples tell. All peoples of the world have myths, legends, and traditions, and they constitute the most important source of artistic creativity. The mythological genre originates in late antique and medieval art, when Greco-Roman myths ceased to be beliefs and became literary stories with moral and allegorical content. The mythological genre itself was formed during the Renaissance, when ancient legends provided rich subjects for the paintings of S. Botticelli, A. Mantegna, Giorgione, and frescoes by Raphael.
Sandro Botticelli."Slander", 1495
Sandro Botticelli."Venus and Mars", 1482-1483
In the 17th century - at the beginning of the 19th century, the idea of paintings of the mythological genre expanded significantly. They serve to embody a high artistic ideal (N. Poussin, P. Rubens), bring people closer to life (D. Velazquez, Rembrandt, P. Batoni), and create a festive spectacle (F. Boucher, G. B. Tiepolo). In the 19th century, the mythological genre served as the norm for high, ideal art (sculpture by I. Martos, paintings
J.-L. Davida, J.-D. Ingra, A. Ivanova).
Pompeo Batoni."The Marriage of Cupid and Psyche", 1756
Pompeo Batoni."Chiron returns Achilles to his mother Thetis"
1770, Hermitage, St. Petersburg
Pompeo Batoni."The Temperance of Scipio Africanus"
1772, Hermitage, St. Petersburg
Along with the themes of ancient mythology in the 19th-20th centuries. Themes of Germanic, Celtic, Indian, and Slavic myths became popular in art.
Gustave Moreau."Night", 1880
At the beginning of the 20th century, symbolism and Art Nouveau style revived interest in the mythological genre (G. Moreau, M. Denis,
V. Vasnetsov, M. Vrubel). He received a modern rethinking in the sculpture of A. Maillol, A. Bourdelle,
S. Konenkov, graphics by P. Picasso.
Lawrence Alma-Tadema. "The Finding of Moses"
1904, private collection
Victor Vasnetsov."God of Hosts", 1885-1896
Pre-Raphaelites (from Latin prae - before and Raphael), a group of English artists and writers who united in 1848 into the "Pre-Raphaelite Brotherhood", founded by the poet and painter D.G. Rossetti, painters J. E. Millais and H. Hunt. The Pre-Raphaelites sought to revive the naive religiosity of medieval and early Renaissance (“pre-Raphaelian”) art, contrasting it with cold academicism, the roots of which they saw in artistic culture High Renaissance. Since the late 1850s. Artists W. Morris, E. Burne-Jones, W. Crane, J. F. Watts and others grouped around Rossetti. Pre-Raphaelite painting developed towards stylization, more complex planar ornamentation, and a mystical coloration of figurative structure; The activities of the Pre-Raphaelites (primarily Morris and Burne-Jones) to revive English decorative and applied arts were widespread. The ideas and practice of the Pre-Raphaelites largely influenced the formation of symbolism in the visual arts and literature (J. W. Waterhouse, W. Pater, O. Wilde) and the Art Nouveau style in the fine arts (O. Beardsley and others) in Great Britain.
E. Burns-Jones."Rosehip. The Sleeping Princess", 1870-1890
Ew Burns-Jones."Aphrodite and Galatea", 1868-1878
George Frederick Watts. "Orlando Pursuing Fata Morgana"
1848, private collection
Nazarenes (German: Nazarener), a semi-ironic nickname for a group of German and Austrian masters of early romanticism who united in 1809 in the “Union of St. Luke”; comes from "alla nazarena", the traditional name for a hairstyle with long hair, known from self-portraits of A. Dürer and again brought into fashion by F. Overbeck, one of the founders of the Nazarene brotherhood. Since 1810 the Nazarenes (Overbeck, P. Cornelius, F. Pforr, J. Schnorr von Carolsfeld and others) worked in Rome, occupying the empty monastery of San Isidoro and living in the image of medieval religious brotherhoods and artistic artels. Having chosen the art of Dürer, Perugino, and the early Raphael as a role model, the Nazarenes sought to revive the spirituality of art, which, in their opinion, had been lost in the culture of modern times, but their works, including collective ones (paintings in the Bartholdi house in Rome, 1816–1817; now in the National Gallery, Berlin). not without a touch of cold stylization. In the 1820s and 1830s, most of the Nazarenes returned to their homeland. Their practical activities and especially theoretical statements had a certain impact on the neo-romantic movements of the 2nd half of the 19th century, including the Pre-Raphaelites in Great Britain and the masters of neo-idealism in Germany.
Ferdinand Hodler. "The Retreat of Marignan". 1898
Since the 1850s, salon historical compositions also became widespread, combining lush representativeness with pretentiousness, and small historical and everyday paintings, recreating in precise detail the “color of the era” (V. Bouguereau, F. Leighton, L. Alma-Tadema in Great Britain , G. Moreau, P. Delaroche and E. Meissonnier in France, M. von Schwind in Austria, etc.).
Lawrence Alma-Tadema."Sappho and Alkaes".1881
Gustave Moreau."Oedipus and the Sphinx"
Gustave Moreau."Chimera", 1862
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Municipal educational institution "Lyceum No. 11 named after. T.I.Alexandrova, Yoshkar-Ola"
Research work
On the topic: “Mythological subjects in painting”
Scientific supervisor:
Kosova Svetlana Ivanovna, teacher
drawing and fine arts of the first qualification category.
Student 11 "A" class:
Shparber Ksenia
Yoshkar-Ola 2015
Introduction
A myth is a legend that embodies the ideas of ancient peoples about the origin of the world and various natural phenomena. Myths tell stories about gods, spirits, deified heroes and ancestors. They arose during primitive society, at dawn human existence. Ancient man could not understand the reasons for the various natural phenomena. Many questions arose in his head: how did people appear on earth? why does thunder roar and it's raining? for what reason does the wind blow? etc. Not being able to approach these questions from a scientific point of view, people came up with their own answers that were understandable to him. These answers became myths.
This work is relevant because myths and art are an integral part of culture. The purpose of the work is to prove the statement that myths are an inexhaustible source of creativity for artists of different times and eras. Research objectives: to reveal the concept of myth, to show the history of the development of myth in art, to prove the hypothesis. Objects: Sandro Botticelli “Birth of Venus”, Santi Raphael “Vision of Izzekiel”, Nicolas Poussin “Kingdom of Flora”, Francois Boucher “Jupiter and Callisto”, Karl Bryullov “The Last Day of Pompeii”.
1. Main part
Myth is not only historically the first form of culture, but also changes the mental life of a person. The essence of myth is that it represents the twinning of man with the forces of existence of nature or society. Everything becomes animated, and nature appears as a world of formidable, but related to man, mythological creatures - demons and gods.
In parallel with myth, art existed and operated in the history of culture. Art is an expression of a person’s need for figurative and symbolic expression and experiencing significant moments in his life. Art creates a “second reality” for a person. Involvement with this world, self-expression and self-knowledge in it constitute one of the most important needs of the human soul.
Artists of different eras and styles did not ignore ancient Greek mythology. And although in the Middle Ages painting focused mainly on Christian subjects, during the Renaissance, painters with great enthusiasm began to depict mythological subjects on their canvases. In the modern era, against the backdrop of general changes in the fine arts, interest in classical mythological subjects somewhat dried up, but interest in mythical monsters, images of which are actively used in contemporary art. Russian painters traditionally turned to the theme Slavic mythology, depicting in his paintings how epic heroes, and mythical creatures of Slavic mythology.
First, let's look at a painting from the 15th century. Famous painting artist Sandro Botticelli's "Birth of Venus". Botticelli - Italian painter of the era early Renaissance, representative of the Florentine school, one of the most prominent artists of the Italian Renaissance. The artist wrote “The Birth of Venus” for Lorenzo di Pierfrancesco Medici. The plot of this picture is based on the myth of how the goddess of love was born from the foam of the sea.
Venus, standing in a shell, floats, urged on by Zephyr and Chloris, and Ora, one of the goddess’s companions, comes towards her, holding a veil to envelop her. The whimsical folds of bedspreads and clothes fluttering in the wind, the waves on the sea, the broken line of the shore, the “corrugated” shell of the shell, and finally the flying hair of Venus - all this sets off the smooth outlines of the goddess’s body and enhances the feeling of supreme harmony that her appearance evokes. The characters’ hands almost close above Venus’s head, and it seems as if an arch is overshadowing her, echoed by the rounded bottom of the shell. Thus, the figure of the goddess is closed into an imaginary oval. Venus here is the center to which everything strives.
The beautiful face of the heroine is reminiscent of the faces of Madonnas in Botticelli’s paintings, and therefore in this work the Christian theme sounds through the ancient theme, it was this combination of ancient humanism and Christianity that gave rise to the phenomenon of the Italian Renaissance.
The next painting by Raphael Santi, “The Vision of Ezekiel,” dates back to the 16th century. This small canvas was painted for a private customer. The background of the picture fully corresponds to the biblical description of this vision: “...a stormy wind came from the north, a great cloud and swirling fire, and a brightness around it” (Ezekiel 1:4). In the vision itself, God is depicted floating through the air, supported by “the likenesses of four animals.” tradition with their four winged creatures: a man or angel, a lion, a bull and an eagle, which symbolize in the visual arts the four Evangelists. It was this Christian tradition, and not the actual description of Ezekiel’s vision, that Raphael followed when painting this picture. The painting is small in size, but it gives an idea of Raphael’s skill in solving such a complex composition. In it, the artist develops a task that is exceptional in its difficulty - to show rapid flight. The figure of the God of Hosts himself is given from a very complex perspective. The pictorial image of God is full of such titanic power, and the movement is conveyed so perfectly that it seems to the viewer that “The Vision of Ezekiel” is a large canvas, and not a tiny painting, the dimensions of which are barely larger than a miniature. The picture is based on one of the most rich in mythical symbolism biblical subjects.
Next up is a painting from the 17th century, namely “The Kingdom of Flora” by the famous French artist Nicolas Poussin. The master depicted antiquity as he imagined it. On his canvases, the heroes of antiquity came to life again to perform feats, go against the will of the gods, or simply sing and have fun. Poussin's painting "The Kingdom of Flora" was created based on an ancient legend told by the Roman poet Ovid. This is a poetic allegory of the origin of flowers, which depicts heroes of ancient myths turned into flowers
Heroes who die in the prime of life turn into flowers after death and find themselves in the kingdom of Flora. Human life is interpreted in its inseparability with the life of nature. Strict order reigns in the universe, its laws are reasonable. This is also felt in Poussin’s painting, which is distinguished by the balance of its composition and the beauty of its characters, inspired by images of ancient sculpture. Logic and poetry coexist harmoniously on this canvas. Here he depicts his ideal - a person living united happy life with nature.
In all his works, Poussin expressed the aesthetic ideal of classicism, which is based on the imitation of “decorated nature.” This means that the artist reflected only the sublime, beautiful and perfect in man and life, while ignoring the base, ugly and ugly.
“The Kingdom of Flora” is one of Poussin’s paintings, distinguished by its subtle and rich development of color.
An example of mythological subjects in 18th century painting is Francois Boucher’s canvas “Jupiter and Callisto”. In the painting, the artist turned to the “Metamorphoses” of the Roman writer Ovid, who retold the myth of the god Jupiter, who, having fallen in love with the nymph Callisto and wanting to seduce her, took the form of the goddess Diana. The artist interpreted a sensual episode of ancient mythology in a superficial, playful spirit. Graceful, graceful figurines of his ancient heroines look like porcelain figurines. Boucher loved light painting and preferred elegant blue, pink and green tones. In the works of Boucher himself, nymphs and Venus appear every now and then. And the names of the works speak for themselves - “The Triumph of Venus”, “The Toilet of Venus”, “The Bathing of Diana”. He knew how to enjoy the beauty of life and encouraged others to do the same. The Rococo style was his native element, here he felt like a fish in water - natural and organic. Decorativeness, graceful intimacy, boudoir atmosphere, pastel colors - these are the main features artistic style Francois Boucher.
And finally, one of famous paintings The 19th century painting by Karl Pavlovich Bryullov “The Last Day of Pompeii” also belongs to the mythological genre of painting. Karl Bryullov is a famous painter, watercolorist, draftsman. Studied at the St. Petersburg Academy of Arts. His work introduced the freshness of romance, vitality, and passion for the beauty of reality into the painting of academic classicism, and this contributed to the development of realism in Russian painting. Worldwide fame The artist brought the painting “The Last Day of Pompeii”. The death of Pompeii in Bryullov’s view is the death of everything ancient world, the symbol of which becomes the most central figure of the canvas - a beautiful woman who fell to her death by falling from a chariot. Bryullov is shocked inner beauty and the dedication of these people who do not lose human dignity in the face of an inevitable catastrophe. In these terrible moments, they do not think about themselves, but strive to help their loved ones, to protect them from danger. The artist sees himself among the inhabitants of Pompeii with a box of paints and brushes on his head. He is here next to them to help, to support their spirit. But even before his death, the artist’s keen observation does not leave him - he clearly sees human figures perfect in their plastic beauty in the flashes of lightning. They are beautiful not only because of the extraordinary lighting, but also because they themselves seem to radiate the light of spiritual nobility and greatness. Almost six years have passed since that memorable day when, on the streets of lifeless Pompeii, Bryullov had the idea to paint a picture about the death of this ancient city. In the last year, the artist worked so furiously that he was more than once carried out of the studio in a state of complete exhaustion.
Conclusion
myth art painting Bryullov
The work we have done confirms the hypothesis that myths are an inexhaustible source for the creativity of artists of different centuries and eras. For this purpose, the works of masters from different centuries were examined. A survey was also conducted.
List of information sources
· http://citaty.su/
· http://muzei-mira.com
· http://jivopis.org
· http://www.mifyrima.ru/
· https://ru.wikipedia.org
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Circe, she's the same Pick
...In beautiful braids - a terrible goddess with human speech.
Eet, full of treacherous thoughts, was her brother.
From Helios they were born, shining for mortals,
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Oh, how the ancient Greeks twisted plots! :)))
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One more Circe
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Fortune
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Allegory "Fortune", 1658 
Paul Getty Museum, Los Angeles.
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Aurora
Aurora (from Latin aura - “pre-dawn breeze”, among the Greeks Eos) is the goddess of the dawn, daughter of Hyperion and Theia, sister of Helios and Selene and wife of the Titan Astraea.
The goddess Aurora gave birth to the titan Astraea Zephyr, Boreas and Notus, as well as Hesperus and other constellations. In Roman mythology, she is the goddess of dawn, bringing daylight to gods and people.
"Aurora or Morning Star", 1814 
Château de Compiègne - Compiègne Castle, France. Ceiling in the Empress's bedroom.
Anne-Louis Girodet de Roucy-Trioson(1767-1824) - French historical painter, portrait painter, lithograph artist and writer.
Got a thorough liberal arts education. One of the best students of David, with whom he studied since 1785. In the beginning artistic activity was interested in Greek mythology, and among the pseudo-classicism that dominated at that time in French art, became a harbinger of romanticism, which soon replaced this direction.
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Hecate
Hecate is the daughter of Asteria and the Persian, a non-Olympian goddess of witchcraft and supernatural powers.
Hecate had three bodies connected together, six pairs of arms and three heads.
She received from Zeus power over the destinies of the earth and sea, Uranus endowed her with great power. After the Olympians' victory over the Titans, Hecate managed to maintain her influence, although the inhabitants of Olympus considered her presence unsparing. Even Zeus himself respected Hecate so much that he never challenged her right to fulfill or not fulfill the deepest desires of mortals.
Hecate patronized hunting, shepherding, horse breeding, social activities of people (in court, national assembly, war), and protected children and youth. The gloomy goddess of night witchcraft, Hecate caused terror, wandering in the dark in burial places and appearing at crossroads with a flaming torch in her hands and snakes in her hair. They turned to her for help, resorting to special mysterious manipulations. She brought out the ghosts of the dead and helped abandoned lovers. It was Hecate who called on Demeter for help, forcing the all-seeing Helios to admit that Persephone was kidnapped by Hades.
She helps sorceresses who, like Circe and Medea, learn their art from her. Sometimes Hecate helped people, for example, it was she who helped Medea achieve Jason’s love.
Orpheus was the founder of the Mysteries of Hecate in Aegina, it was she who told him how to return Eurydice when Orpheus appealed to the goddess.
"Hecate", around 1795 
The Tate Gallery.
William Blake(English William Blake, 1757-1827) - English poet and artist, mystic and visionary.
During his lifetime, Blake did not receive any fame outside a narrow circle of admirers, but was “discovered” after his death. Provided significant influence on the culture of the 20th century. It is believed that 1863 marked the beginning of the recognition of William Blake and the growth of interest in him.
Currently, William Blake is rightfully considered one of the great masters of English fine art and literature, one of the most brilliant and original painters of his time.
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Hera/Juno
Juno is a Roman goddess, corresponding to the Greek Hera, the wife of Jupiter, who enjoyed even greater power in heaven than the Greek Hera. Together with Minerva and Jupiter, she was honored in the Capitol. A temple to Juno Moneta (persuader) was erected on the Capitoline Hill. There was also a mint of the Roman state, to which, according to legend, she provided patronage.
The Queen of the Sky, Juno, as well as her husband Jupiter, who gives people favorable weather, thunderstorms, rains and harvests, and bestows success and victories, was also revered as the patroness of women, especially married women. Juno was the guardian of marriages and an assistant during childbirth. She was also revered as a great goddess of fertility. The cult of Jupiter was in charge of the priest - the Flamin, and the cult of Juno - the wife of the Flamin. Married women annually celebrated the so-called matronalia on the first of March in honor of Juno. With wreaths in their hands, they marched to the Temple of Juno on the Esquiline Hill and, along with prayers for happiness in family life, sacrificed flowers to the goddess. At the same time, slaves also took part in the celebration.
The month of June was named after Juno.
"Goddess Juno in the House of Sleep", 1829 
Museo Nacional del Prado
Oil sketch for the fresco on the ceiling of the Salon of Carlos III in the Royal Palace of Madrid.
Luis Lopez Picker - spanish painter.
Born in Valencia 1802, died in Madrid on June 5, 1865. Son famous artist Vincent Lopez and brother of the artist Bernardo Lopez Piquera.
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Summer/Latona
Latona in Rome / Summer in Greek mythology- daughter of the titans Coy and Phoebe, sister of Asteria, who gave birth to twins Apollo and Artemis from Zeus.
According to the myth, the jealous Hera/Juno cursed the earth so that not a single piece of land could accept Latona for relief from the burden. Only the small island of Delos agreed to accept her, and there she gave birth to the twins, Artemis and Apollo. According to one version of the myth, the wife of Zeus/Jupiter detained the goddess of birth Elythia on Olympus, and Leto/Latona suffered in labor for 9 days until the other goddesses who sympathized with her bribed Elythia with a necklace transmitted through Iris, the goddess of the rainbow.
Tired of the long journey, Latona wanted to drink from a lake in Lycia, but the local peasants who mined willow, reed and sedge there did not allow her to do so. As punishment, she turned them into frogs.
This theme is found in both painting and garden sculpture, especially in France in the 17th century. Latona is depicted (usually with children) near a lake, where peasants and huge frogs.
Latona and the Lycian peasants, OK. 1605 
Rijksmuseum, Amsterdam.
(1568 - 1625) - famous Flemish artist.
Born in Brussels. He came from the great dynasty of Flemish painters Bruegel, his father was Pieter Bruegel the Elder. He worked in Rome, Antwerp, Prague, Brussels. The creative heritage of Jan Brueghel the Elder includes many magnificent landscapes with small human figures that enliven the paintings, based on biblical and allegorical subjects. Jan Brueghel the Elder is famous for his detailed depictions of flowers in the form of still lifes or floral wreaths. Jan Brueghel also painted a large number of paintings with mythological themes and allegories, often in collaboration with his friend Peter Paul Rubens.
He died of cholera, and his three children (Peter, Elizabeth and Maria) became victims of the epidemic along with him.
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Orpheus
Orpheus was a Thracian, from the region of the Cyconians, who lived in the village of Pimpleya near Olympus. The son of the Thracian river god Eagr (option - Apollo) and the muse Calliope. Orpheus was famous as a singer and musician, endowed magical power art, to which not only people, but also gods, and even nature submitted. A favorite of Apollo, who gave him a golden lyre. He took part in the Argonauts' campaign, playing the forming instrument and praying to calm the waves and helping the rowers of the Argo ship.
The image of Orpheus is present in a significant number of works of art, music, poetry, and painting. The tragic love story of the singer Orpheus and his wife, the nymph Eurydice, is especially popular. And her death, and Orpheus’s attempt to return his wife from the kingdom of the dead.
"O you deities, whose abode is forever underground,
Here, where we will find ourselves, all created mortals! ...
I pray to the chaos of the abyss and the silence of the desert kingdom:
Unravel my Eurydice's short fate again! ...
If the mercy of fate denies me a wife, return
I don’t want it for myself either: rejoice in the death of both.”
(Ovid, “Metamorphoses”, translation by S. V. Shervinsky)
"Orpheus in the Kingdom of the Dead", 1594 
Palazzo Pitti, Galleria Palatina, Florence, Italy.
Jan Brueghel the Elder, Velvet
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"Orpheus and Eurydice in the Kingdom of the Dead", 1652 
Museo Nacional del Prado
Peter Frees(1627, Amsterdam – 1706, Delft), landscape painter of the Dutch Golden Age.
Rainer Maria Rilke
Sonnets to Orpheus
Oh tree! Rise to the skies!
Bloom, obedient ears! Orpheus sings.
And everything fell silent. But in a silent song
a holiday and a flight were intended.
The entire forest became transparent. People crowded around the singer
and the beast from the holes, and the inhabitants of the dens.
It was no longer their predatory intent that attracted them,
and it was not in silence that the animals hid, -
they listened. Low roar and growl
humbled in their hearts. Where recently
like an uninvited guest, the sound would be timid, -
in any hole, shelter from blizzards,
where darkness and greed clearly ruled, -
You have erected an unprecedented temple to song.
Translated from the German by Grainham Rathaus
1640 
The Rose-Marie and Eijk van Otterloo Collection.
Albert Jacobs Cuyp(Aelbert (Aelbrecht) Jacobsz Cuyp, 1620 - 1691, Dordrecht) - Dutch painter, graphic artist and engraver of the Baroque era.
Both Albert's grandfather and uncle were artists who specialized in stained glass; his father, Jacob Gerrits Kuyp, was a famous portrait painter. It was probably from his father that Albert learned painting, and in the early 1640s. father and son worked together on commissions: Jacob painted portraits, and Albert supplied them with landscape backgrounds.
Cuyp showed himself in the most different genres painting, his brushes belong to biblical, mythological and historical paintings, still lifes, portraits (the latter indicate the undoubted influence of Rembrandt on him), but it was landscapes that brought him fame.
Cuyp's activities took place mainly in Dordrecht. After his father's death in 1651 or 1652, Albert inherited a significant fortune and became one of the most respected citizens. He was an active member of the Dutch Reform Church and held important city and church offices. In 1659 he became dean.
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Another "Orpheus Charming the Animals"
The unfortunate man fed on grief, suffering of the soul and tears.
And, reproaching the underground gods with the heartlessness, he left
In the Rhodope Mountains, on Gem, hit by the north wind.
Here is the third constellation of Pisces marine
The Titan had already completed the year, but Orpheus steadily avoided
Women's love. Is it because he lost his desire for her?
Or he remained faithful - but in many the hunt was burning
Connect with the singer, and those rejected suffered a lot.
It became his fault that the Thracian peoples followed him too,
Having transferred the feeling of love to immature youths,
The short-lived spring, the first flowers are cut off.
Ovid Publius Naso, "Metamorphoses", Book Ten.
For this, according to Ovid, he was torn to pieces by the Thracian maenads.
Giovanni Francesco Castiglione- Italian painter (1641 - 1710, Genoa).
The artist was the son and student of Giovanni Benedetto Castiglione and studied painting in his father's studio. Around 1664 he received an order from Ottavio Gonzaga the Elder, and from 1681. he became the court painter of Ferdinando Carlo Gonzaga. After the Duke's death in 1708, Castiglione returned to Genoa. He is buried there in the church of Santa Maria di Castello.
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There is another ancient Greek hero who went on an excursion to the afterlife.
Aeneas
Aeneas, in ancient (and above all, Roman) mythology, one of the main defenders of Troy and the legendary ancestor of the Romans. According to the Iliad, Homer escaped death in the Trojan War thanks to the intervention of the gods, since he was destined to continue the dynasty of the Trojan kings and revive the glory of the Trojans in another land. This version formed the basis of Virgil's Aeneid, which is the main source for the presentation of the myth of Aeneas.
Aeneas's parents, according to Virgil, were Anchises, grandson of the Trojan king Ilus and cousin of Priam, and Aphrodite (Venus in Roman tradition).
Aeneas married Creus (daughter of Priam and Hecuba), his son Ascanius (Yul or Iul) would become, according to Virgil, the founder of the Roman patrician family of the Julians, to which Julius Caesar and Octavian Augustus belonged.
Aeneas witnessed the destruction and death of Troy and the murder of King Priam. Hector instructs him to remove and preserve the statues of the Trojan gods and install them in the place where Aeneas will become the founder of the new city.
On 20 ships, the surviving Trojans set sail. While sailing across the sea, Aeneas and his companions visited many places and alterations, and only a few of the survivors arrived with Aeneas in Italy. There there is a meeting with the mysterious prophetess Sibyl. The Sibyl escorted Aeneas to the Kingdom of the Dead, where, after a difficult and dangerous journey, Aeneas meets his father, from whom he hears prophecies about the great future of Rome.
Aeneas drew his sword, was overcome by sudden fear,
He put out a sharp blade to meet the onslaught of monsters,
And, don’t the wise maiden remind him that this
A swarm of disembodied shadows retains only the appearance of life,
He would rush at them, cutting through the void with his sword.
Virgil, "Aeneid", Book VI.
"Aeneas and the Sibyl in the Kingdom of the Dead", 1630 
The Metropolitan Museum of Art.
Jan Brueghel the Younger(Dutch. Jan Bruegel de Jonge, September 13, 1601 - September 1, 1678) - a representative of the southern Dutch (Flemish) dynasty of Bruegel artists, the grandson of Pieter Bruegel the Elder, Muzhitsky and the son of Jan Bruegel the Elder, Velvet.
Jan was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. Being the first-born, Jan continued his father's dynasty and became an artist. At the age of ten he was apprenticed to his father. Throughout his career, he created paintings in a similar style. Together with his brother Ambrosius, he painted landscapes, still lifes, allegorical compositions and other works full of small details. He copied his father's works and sold them under his signature.
Jan was traveling through Italy when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop. He soon achieved a significant position and became dean of the Guild of St. Luke (1630). Best works John the Younger - large landscapes.
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Prometheus
Prometheus is the son of the Titan Iapetus and cousin of Zeus in Greek mythology. The mother of Prometheus is the goddess of justice Themis (according to other options: the oceanid Clymene or the oceanid Assia). Brothers of Prometheus: Menoetius (thrown into Tartarus by Zeus after the Titanomachy), Atlas (supports the firmament as punishment), Epimetheus (husband of Pandora).
Who doesn't know the myth of Prometheus? Therefore, I’d rather post it in poetry. I was choosing between Aeschylus, Goethe and Byron, and settled on Yune Moritz.:)
Prometheus
An eagle on the roof of the world, like a cat,
Ruffled by the wind blowing from the Caucasus.
The executed titan looks into both eyes
to the brutal Zeus. This is what the cover looks like
insomnia. And the juices of retelling
A silver spoon swirls in the moon.
Zeus's breasts sagged from passion,
the fierce peritoneum is tense, -
where people like to gather,
he spews thunder like a machine.
Titan is holding on to the liver. Vertex
The Caucasus walks with him in amplitude.
Eagle, offspring of Echidna and Typhon
and the brother of the Chimera with the goat's head,
starts up like a gramophone box,
and feeds on living liver.
Titan thinks about this: “I’ll master
breathe heavily to avoid damage.”
Lemon fruits in the valley cellar
rallied the light around the sleeping sheepfold.
Shepherd, a product made of water and clay,
The shepherdess pours boiling broth into a mug.
Titan eagle eats like a real one, and
splashes an eagle's saliva into the powerful groin.
The Titan sees neither the eagle nor the captivity,
he sees himself going down the slope
A centaur mortally wounded in the knee.
O devil! In noble Chiron
the arrow cut like an ax into a log,
he turned black with pain, like a crow,
and foam with a lush cloudy outline
aggravates the creatures longitudinality.
He asks for death, but is immortal by birth -
Damn fate, immortality's bondage!
There is such torment in him, such pain!..
Titan hits vaults of heaven, -
Zeus comes out: - What do you want, thief? -
Titan dictates: - Destroy order
and transfer my death to a friend,
so that his departure may be bright and sweet:
Let the centaur be the most tender of beds,
and for me - his immortality centrifuge, -
do you understand? - Zeus nodded to him involuntarily
and left to please the titan.
The centaur was no longer in such pain,
Hercules buried him in the shade of a plane tree.
The eagle tormented the titan tirelessly,
eating into the liver. But that's about it
everyone knows and enough has been said.
1973
"Prometheus Saga"(part of a triptych), 1950 
Oskar Kokoschka(German Oskar Kokoschka, March 1, 1886, Pöchlarn, Austria-Hungary - February 22, 1980, Villeneuve, Switzerland) - Austrian artist and a writer of Czech origin, a major figure of Austrian expressionism in literature and the visual arts.
On his father's side he belonged to a family of famous Prague jewelers. He studied at the Vienna School of Arts and Crafts, among his teachers was Gustav Klimt.
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Charon
Charon's boat goes on forever,
But he only takes shadows...
"Ceres' Complaint", V.A. Zhukovsky
Charon, Greek - the son of the god of eternal darkness Erebus and the goddess of the night Nikta, the carrier of the dead to the afterlife.
With such a gloomy origin and occupation, it is not surprising that Charon was a rude and grumpy old man. He was engaged in transportation across the river Styx or Acheron, and only to the afterlife, but not in the opposite direction. Charon transported only the souls of the dead, buried according to all the rules; the souls of the unburied were doomed to wander forever along the banks of the afterlife rivers or, according to less strict ideas, for at least a hundred years. For the transportation of Hercules, who was one of the few living to go to the afterlife, Charon worked in chains for a whole year on the orders of Hades. Charon demanded a reward for delivering the souls of the dead to Hades. Therefore, the Greeks placed a coin (one obol) under the tongue of the dead. Why Charon needed money in the afterlife - no one knew. In any case, everyone notes the dirty and ragged appearance of this strange god (and Charon really was a god), his ragged, uncut beard. The custom of providing the dead with money for the journey persisted in the Greco-Roman world long after the victory of Christianity and penetrated into the funeral customs of other peoples.
Charon's boat, 1919 
Museum of Fine Arts in Valencia
Jose Benlure y Gil(José Benlliure y Gil; 1855, Valencia - 1937, Valencia) - Spanish artist.
Born into a family of artists, he was the son of the artist Juan Antonio Benlure and the brother of the sculptor Mariano Benlure and the artists Blas and Juan Antonio. He soon showed his talent for painting, and after spending time working in Valencia and Madrid, he moved to Rome, where he lived for almost twenty years, receiving international success and becoming the leader of the Spanish art colony in Rome. He was named Officier de l'Academie in France, was a member of the Academy of San Carlos in Valencia and San Fernando in Madrid, and in 1926 he was a member of the Latin American Society of America in New York.
Depicted mainly scenes of Spanish and Roman folk life, and sometimes historical and everyday subjects, distinguished by great realism, brilliance of colors and subtlety of execution.
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Phaeton
Phaeton, the son of Helios (the sun god), once had a strong argument with his friend because he doubted his origin. Then he went to his father and asked him for a sign - proof of kinship. The father got excited and promised to fulfill his every wish, then the phaeton asked to be allowed to drive the sun chariot for a day. The father was against it, but could not dissuade his son. The father gave instructions to his son so that he should restrain the horses and not drive them along the crooked road and not go down too low (so as not to set fire to the earth: forests, fields, mountains) and not rise too high (so as not to set the sky on fire).
Phaeton could not hold back the horses, but it was too late, no matter how he tried to moderate the running of the chariot, nothing worked. The horses jumped out of the rut and went down too low and set the ground on fire, and then rose sharply and set the sky on fire. The god Poseidon tried to put out this fire, but the intense heat did not allow him to do this. Then the goddess Earth asked Zeus the Thunderer to come to the rescue.
Zeus smashed the chariot with one lightning bolt and extinguished the solar fire with his flame. The horses ran away, and the burning Phaeton seemed to people like a shooting star. The body of Phaeton, engulfed in flames, was taken into its waters by the mysterious river Eridanus, which the eyes of no mortal had ever seen, and extinguished the flame. The Naiads, who regretted Phaethon, so brave and so young to die, buried him and carved verses on the gravestone:
Phaeton, the driver of his father's chariots, is buried here;
Her path did not stop her, but, daring to do great things, he fell.
His sisters Gelida, daughters of Helios, came to his grave to mourn him. There, on the banks of Eridanus, they were turned into poplars.
Tears are already flowing, flowing on young branches
Amber freezes under the sun...
Girls find these droplets on the shore and wear them as decoration.
The gods mourn Phaeton
Theodor van Thulden(Dutch. Theodoor van Thulden, 1606 or 1607 - July 12, 1669) - Flemish painter and engraver.
Theodor van Thulden was born in the town of 's-Hertogenbosch in North Brabant. In 1621 he went to Antwerp and studied in Bleijenberg's workshop. He worked in his hometown of Herzogenbusch, Antwerp, Paris and The Hague.
In 1626 he became a master in the Guild of St. Luke, from 1631 to 1633 he worked in Paris, in 1634 he returned to Antwerp, where he often worked with Rubens and worked on orders from wealthy citizens. In 1640 he returned to North Brabant, where he won a competition for the right to create picturesque political allegories on instructions from the city council.
Theodore van Thulden very skillfully composed and executed decorative paintings of allegorical and historical content; He also painted scenes of everyday life (in particular, village holidays and weddings) and portraits. He was one of the most fashionable artists of the era of Louis XV. It was prestigious to have an artist’s paintings in a collection.
He was married to the daughter of the artist Hendrik van Balen.