Apr Daily

Enchanting Elegance: Unveiling Greek Mythology Through Art and Tales of Alluring Women

—

by

Tooth
In my latest blog post for the Museum in August, titled “Mythology at the Milwaukee Art Museum-Part 1,” I delved into captivating examples of Classical mythological figures from the Museum’s collection. The intention was to equip readers with the ability to recognize these characters during their next visit.

This month, our journey continues as we venture into another facet of mythology depicted in art. Fear not, as we’ll still unravel the mysteries of identifying various myths. However, we’ll also discover that classical mythology possesses the intriguing quality of being both straightforward and intricately complex simultaneously.

To kick off our exploration, let’s address a fundamental question: What precisely defines a “myth”?

Extensive scholarly discourse in disciplines like anthropology delves into the multifaceted definition and significance of myth.

However, at its core, the most elemental understanding of the term “myth” traces back to its Greek root, mythos. In Greek, mythos encompasses the meanings of word, speech, tale, or story. The seemingly diverse range of ideas encapsulated by this single word exemplifies the intricate nature of concepts in Ancient Greece.

To unravel the complexities of myth within the realm of art history, we turn our attention to a pair of paintings by Corrado Giaquinto (Italian, 1703–1766) housed in the Museum’s Collection. These paintings, titled “The Rape of Europa” and “The Triumph of Galatea,” form a complementary pair known as pendant paintings, meticulously designed to be displayed together. For an immersive experience, visit Gallery #6 to encounter these captivating works.

To begin, let’s encapsulate the narratives portrayed in these paintings. Europa, hailing from the lineage of a Phoenician king in Asia Minor, becomes entangled in a tale of divine romance. The god Zeus, smitten by her, employs a transformative strategy, assuming the guise of a white bull to win her trust. Found playing with her companions along the shores of the Aegean Sea, Europa and her friends initially recoil in fear at the bull’s presence. However, their trepidation gives way to awe as they realize the bull’s gentle nature. Seizing an opportune moment, as Europa adorns the bull with a crown of flowers, Zeus swiftly carries her across the sea to Crete upon his back.

Galatea, a Nereid residing in Sicily, epitomized the essence of the sea waves as a sea divinity. Her heart belonged to the youth Acis. Complicating matters, a Cyclops named Polyphemus harbored deep affection for Galatea, serenading her tirelessly in attempts to win her love. Despite Polyphemus’s persistent efforts, Galatea remained steadfast in her affection for Acis.

Tragically, Polyphemus, consumed by jealousy, took a drastic step and ended Acis’s life by hurling a boulder at him. Overwhelmed by grief, Galatea transformed Acis into a river, ensuring a perpetual connection with him in a different form. Art often portrays a poignant moment following this event, depicting Galatea triumphing over the tragedy as she rides the waves on a dolphin, surrounded by her male and female sea attendants. Meanwhile, Polyphemus lurks on a cliff, a brooding figure in the background.

The popularity of pairing these two myths in the 18th century stemmed not only from their picturesque elements but also from the opportunity they provided for artists to craft exquisite portrayals of beautiful women—undoubtedly an enchanting subject for home adornment.

Yet, the 18th-century fascination with these narratives goes beyond surface aesthetics, revealing a deeper layer of complexity in the admiration of these stories.

To unravel the significance of these myths in the 18th century, we must journey back to the Middle Ages. Classical myths, rooted in the religious beliefs of ancient Greeks and Romans, faced a transformative period with the ascendance of Christianity. The emergence of Christianity posed a perceived threat to this ancient belief system. However, the transition was neither smooth nor immediate, as the allure of mythological narratives persisted. To align them with Christian ideals, these myths underwent a metamorphosis, transitioning from religious tales to moralizing stories.

A pivotal strategy involved appropriating certain gods to symbolize Christian values, creating parallels between myths and biblical teachings. While not universally accepted among Christian scholars, this adaptation ensured the endurance of mythological stories, setting the stage for their “rediscovery” by Italian Renaissance humanists in the 15th century.

The utilization of myth during the early Renaissance was a nuanced affair. On one hand, writers and artists recognized the intrinsic value of the classical past, endeavoring to reclaim what had been lost. On the other hand, these Italian Christians found themselves distanced in time and culture from the original Greeks and Romans, for whom myths were both a religion and a means of understanding the world. Faced with this dilemma, a multifaceted approach emerged, with allegory—explored further at the conclusion of this post—and the concept of ut pictura poesis (as is painting, so is poetry) standing out as two crucial ideas in navigating the intersection of classical mythology and Christian beliefs.

“Ut pictura poesis” originates from the ancient Roman writer Horace, translating to “as is painting, so is poetry.” Horace suggested that, like poetry, painting is best appreciated as a cohesive whole rather than by scrutinizing individual elements or lines. During the Renaissance, scholars expanded on this philosophy, asserting that painting was, in essence, poetry in visual form.

Given that much of the Renaissance artists’ knowledge of mythology was derived from poets, especially Ovid’s Metamorphoses, it became natural for painters to use myths as a means of demonstrating the expressive power of their art, akin to poetry.

A prime exemplar of this concept is Titian (Italian, ca. 1488-1576), who went so far as to label his paintings of mythological subjects as “poesie.” Among his notable works is a depiction of the rape of Europa, part of a series of mythological paintings crafted for the private chambers of King Philip II of Spain.

While interpretations of the meaning behind Titian’s eight paintings for this series abound, it is evident that both artist and patron regarded works of myth as suitable for private enjoyment, akin to the experience of poetry. The parallel drawn between painting and poetry reflects the belief that visual art, like its literary counterpart, possesses the power to captivate and convey nuanced narratives.

Upon reexamining Giaquinto’s masterpieces, the profound resonance of myth as an evocative theme for crafting poetic artworks becomes unmistakably evident. What better canvas to depict the gripping narratives of enchanting women and men than through the meticulous portrayal of drapery and intricate details?

In essence, our two paintings encapsulate the spirit of ut pictura poesis. Beyond their aesthetic allure, they also function as allegorical expressions, employing symbolic representations to convey broader ideas and concepts. Throughout the Middle Ages, these age-old myths underwent a metamorphosis, assimilating new Christian meanings.

The odyssey of Europa, traversing from Asia Minor to Greece across the Aegean Sea, was metaphorically likened to the soul’s ascent from its earthly vessel to celestial realms postmortem. Likewise, Galatea manifested as the epitome of the pure and virtuous Christian spirit, triumphing over earthly temptations personified by the violent and grotesque Polyphemus.

This brief exploration of allegory merely scratches the surface, and we anticipate delving further into this intriguing subject in upcoming blog posts. Stay tuned for more enthralling insights!