The dossier uncovers a strong cultural significance of Ovid’s Metamorphoses (P. Ovidivs Naso, n.d) as it is reflected in art over 1400 years after publication. The research area was chosen due to a strong interest in art history, and the significance that the survival of the Metamorphoses has had throughout history. The Renaissance regards the revival of classical learning and art throughout the 14th to 16th century (Renaissance art, n.d.). This dossier examines how the artworks reflect the Metamorphoses by their thoughtful composition and symbolism to portray the climax of each story. Titian’s works are primarily focused on due to him being the most prolific artist during the Renaissance. The sources are ordered chronologically regarding their order of appearance in the Metamorphoses.
Source 1
‘Jupiter and Io’
Antonio da Correggio, 1532–1533, Oil on canvas,163.5 cm × 70.5 cm, Kunsthistorisches Museum (Correggio, 1532–1533)
This artwork depicts Book I, lines 587-600 which demonstrates Jupiter’s seduction of Io, as he attempts to hide infidelity from Juno, with disguises. Jupiter, depicted ‘metamorphosed’ as a dark cloud, iterates his discrete attempt to seduce Io. Infidelity is emphasised as Jupiter’s face is barely visible through the fog as he kisses Io, and his hand grasps her waist. This symbolises Jupiter’s forceful nature upon on her. Io’s virgin state is symbolised by the white veil she sits on, and functions as a contrast to Jupiter who attempts to eradicate her ‘pure’ status.
Source 2
‘Diana and Callisto’
Titian, 1556-9, Oil on canvas, 187 × 204.5 cm, National Gallery, London
(Titian, 1556-9)
The work depicts lines 441-465, Book II with the conflict of Diana and Callisto. The conflict’s stem, Callisto’s impregnation by Jupiter, is symbolised with Callisto’s body exposed, on the floor in a vulnerable position, focused on her stomach. The conflict is symbolised through Diana’s disgust towards Callisto with her pointer finger accusatory. Diana is depicted as dignified and double in height of the weak figure of Callisto, emphasising the conflict. The conflict is emphasised by the group of naked figures divided on either side the stream (Glover, 2012). The work references Source 5 with Diana’s weapons and dog resting by the stream, symbolic of the items used to murder Actaeon. Within this story, it foreshadows future events of what Diana is capable of.
Source 3
‘Rape of Europa’
Titian, 1560-62, Oil on canvas, 178 cm × 205 cm, Isabella Stewart Gardner Museum of Boston (Titian, 1560-62)
The work depicts lines 833-875 from Book II which portrays Jupiter’s infatuation with Europa. The artwork portrays Jupiter’s metamorphosis to a white bull, on the right, and this is motif of the Metamorphoses series. Jupiter morphs himself into a white bull so he is able to be closer to Europa. Europa, with her hands outstretched to the ball, symbolises how the transformation let Jupiter gain more attention from Europa. The gods’s feelings are conveyed through symbolic use of pathetic fallacy. The environment is darkened as an attempt to take Europa away from Jupiter. Underneath Europa is a sea monster, symbolising the foreseeable danger of drowning and rape. Europa’s fear is symbolised as she waves a red silk veil to attract attention to her companions centralised on the far left. Those juxtaposed to the cows, respond frantically, and symbolise Jupiter’s cow metamorphosis again.
Source 4
‘Diana and Actaeon’
Titian, 1556–1559, Oil on canvas, 185 cm × 202 cm, National Gallery, London
(Titian, 1556–1559)
The work depicts lines 165-205 from Book III where Actaeon intrudes Diana’s secreting bathing place unlawfully. The work depicts a climax of emotion within Book III. This is done by Diana’s distaste in body movement and facial expression (far right). Diana’s distaste is shown by her left arm upwards and in action, about to be quickly moved to cover her body, and her facial expression, a vengeful stare. The red drapery is symbolic of blood, coinciding in meaning with the scattered animal carcasses, which are symbolic of Actaeon’s death. The means to which Actaeon dies is symbolised by the dogs. Source 5
‘The Death of Actaeon’
Titian, 1576, Oil on canvas, 178.4 cm × 198.1 cm, National Gallery, London
(Titian, 1576)
The work depicts lines 206-252 from Book III, where the death of Actaeon occurs. Symbolism is used to depict the lines within the artwork. The turbulent weather and dark colours suggest the ominous activity occurring, the murder of Actaeon. Diana, positioned on the left of the work, is dominant over Actaeon, being depicted as twice his size. This functions as a contrast to Diana and Actaeon (Source 1), as they have had a reversal of where they are placed within the work. Diana is now depicted as powerful, and Actaeon as vulnerable. Diana’s prior intrusion is symbolised with her breast exposed, and her newfound power depicted with her stern expression. Diana wears the drapery stained with the blood of former prey. Actaeon’s metamorphosis is displayed as he is pictured with a stag head. The dogs no longer recognise Actaeon and devour him, creating parallels to the text.
Source 6
‘Bacchus and Ariadne’
Titian, 1522–1523, Oil on canvas, 176.5 cm × 191 cm, National Gallery, London
(Titian, 1522–1523)
The work depicts lines 152 – 182 from Book VIII and the first encounter between Bacchus and Ariadne. Theseus’s desertion by Ariadne is symbolised by the ship on the far left. Ariadne, pictured on the right, is shown physically to be conflicted between Theseus and Bacchus as her arms and body facing the ship of Theseus, yet her head is turned to Bacchus (Visual Art Corks, 2018). Bacchus’s passion is shown by his leaping being centralised in the work. The right of the painting is hectic in its subject matter and is symbolic of Bacchus’ jovial and chaotic procession of reviling satyrs and nymphs, and their drunkenness. The constellation of stars on the top left is symbolic of their later marriage. Source 7
‘Venus and Adonis’
Titian, 1560, Oil on canvas, 106.7 x 133.4 cm, Metropolitan Museum of Art
(Titian, 1560)
The artwork depicts lines 503 – 559, Book X. The work reflects Venus holding onto Adonis. Venus’s desperation and warnings to Adonis is emphasised as she is seated with her body twisted and face turned towards Adonis. Adonis is turned away from Venus with his face turned to her. The scene depicts her final plead to convince him to stay, due to fear he would be killed (Metropolitan Museum of Art, 2000-2018). The dogs are symbolic of Venus’s encouragement to hunt safe animals only. Adonis’s fate is symbolised by the distressed Cupid behind the couple. The presence of anemones on the right is symbolic for the later events of Book X, where Venus plants the flower from Adonis’s blood. Anemones are short-lived flowers and are symbolic of Adonis’s short life. Conclusion
Each artwork demonstrates the climax of each story that it was influenced by. It is demonstrated by its strong usage and development of symbolism and motifs to represent a holistic view of each story.