This Greek myth has inspired art since the classical period. The relationship between Leda and Zeus is shown in different ways, such as violent or seductive. Most of the art focuses on the seductive aspect of the story. Most of the pieces of art show certain themes that portray different aspects of the myth of Leda and the swan. The setting of the story, the facial expressions on those who are in the painting, and what are the clothing articles that shown in the painting and their color. These things are what make the story come together in the viewer's mind, they are small things and objects, but they make the whole story make sense. I will be focusing on these aspects when discussing the paintings.
The first piece of art that I will be discussing
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This specific painting focuses on the children of the Zeus and Leda human husband’s kids. Unlike the other paintings, this painting doesn’t focus on the seductive relationship between the swan and Leda. Rather it focuses on the offspring of that relationship. The outdoor environment of this painting is dark and toxic, whereas the inside is more joyful and calm. The detail of the muscles of Leda shows the strength of a mother and what it takes to become a mother. This painting does not focus on the persuasion of Zeus, but rather it focuses on the children of a god and how they came to be in the world, from those eggs. The eggs that are laying around are the only object that reveals that the painting is the about Leda and the Swan. The white flowers that are behind Leda can symbolize two different things, one being purity and creation of those children. And the other being the how a delicate thing like the flower can prosper and grow in the dark polluted world that is outside. Adam Miller took this myth and adapted it as a stereotype of a woman’s place in the world. He suggests that women should be pure white flowers that only look after their children and never look out beyond her house. Leda is only looking at her feeding child, not looking out and wondering what is happening outside and how she can change the world in some way. Why did Adam Miller only show three out of the four children? I would believe since some versions of the myth say that Helen was born in a different egg than her siblings. Which suggests that Adam Miller is revealing to the viewers that he believes that this version is what he believes to be the truest
For example, when Poe states, “The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through long walls of piled skeletons, with casks and puncheons intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow” (64). He is showing the fine details of different objects and sceneries from the story.
Susan Vreeland’s Girl In The Hyacinth Blue follows the journey of a fictional painting by J. Vermeer over several centuries and tells the stories and appreciation each family has towards the painting. As the stories proceed, the influence the picture gives on the essence of their lives is descriptively illustrated and shows the various ways the artwork is interpreted by each individual. Vreeland starts off in present-day America and ends in the 17 century Netherlands, which shows the reader the history of the painting and reveals the truth behind the portrait of a young girl. In this review written by Cristina Deptula, she wrote a small summary on each story and then breaks down her perspective of the book by categorizing it by three different topics.
1. When you first looked at the painting, what was the first thing you noticed? How long did it take for you to notice Icarus’ legs in the bottom right-hand corner? The first things I noticed when I saw the painting were the ships in the water.
Viewing the painting, brightens the light in the artwork. There is a sense of reality as the light seems to move through the clouds. The faces of the characters are shown by light and there is an effect of light moving by walking in front of the scene. Emotions are evoked when one looks at this scene. There is a state of protection and safety.
I selected this precise sculpture due to the personification of maternal love and protection sculpted by
She puts a lot of focus on the sky, clouds, trees, and the sun. All of these hold a lot of symbolic significance in this story. The sky being representative of heaven, and the sun of god. The Misfit says “Don’t see no sun, but don’t see a cloud neither.” (127)
These two pieces work to add more detail, to attach readers and make them feel stronger when their time comes, and when it does, they feel sad, and they feel
Reflections, shadows, and earthly objects can be portrayed in this painting as well. Although they are both telling stories about
They lead your eyes to the large boat, onward to the bottom, where there are animals boarding it. The lines are also very sharp. They outline the shapes in the painting, giving the shapes a clear border. The next element is shape. The shapes are at very sharp angles.
Initial Thoughts As I viewed this art, the first thing I see is a mother and her children. The woman who is sitting down has a gold chain and other jewelry and looks as if she is trying to explain to the mother that those items are treasures. The mother is explaining to the woman that her treasures are her children. The woman sitting down must not have any children or she would understand why children are a mother’s greatest treasures. Aspect(s) of Interest
The great depression was the worst economic recession in the history of the industrialized world. Majority of the population was homeless and starving. People were running out of food and there were very limited number of jobs. Whenever a job came available, people were forced to move to support their families. The struggles and adversities citizens were obligated to face was unreal.
The speaker retells a story from Greek mythology when he wrote “Leda and the Swan”, about the assault of the young lady Leda by the God Zeus, who was characterized as a swan. Leda felt a sudden blow, with the immense wings of the swan as yet beating over her. Her thighs were stroked by "the dark webs," and the nape of her neck was caught in his bill; he held "her helpless breast upon his breast. " How, the speaker asks, could Leda's "terrified vague fingers" push the feathered eminence of the swan from between her thighs?
Countless of these tearful songs have been written, describing the image of the woman behind a hero’s victory. In The “Odyssey”, Homer transforms the audience’s perspective about women significantly. All of them, whether beautiful woman or powerful goddesses, are occupied by sorrows. Especially, Penelope and Calypso--the two most influential women in both appearance and the complicated relationship with the guile hero. Although they have very different personalities and backgrounds--one is the queen of Ithaca, and the other is a magnificent goddess.
The Greek sculptures reach the new height of beauty, not only because the mastery of the technique, but also the fascination of human body. Greek art uses the outer appearance to reflect the inner power, it is the representative pattern of western art. The myth inspires the creation of sculpture. The fantasy of nature and society and the admire of god’s shape and personality makes the sculpture more multiple and abundant.
A mythological story can express a valuable message to its readers, advising them to choose a certain path when making decisions and to stray away from what can harm them. It can also give an artist, whether it is a painter or a poet, the inspiration to express their intake of what was given to them. The expression can show support of a character’s decision, show sadness towards a character’s place in the myth, or relate the myth to a real-life occurrence. When poet Eavan Boland was reading Book 1 of Ovid’s Metamorphosis, she wanted to express a different meaning of the story of Daphne by writing “Daphne with her Thighs in Bark”. She did this by using a feminist approach while looking back at Daphne’s fate.