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Apollo appears in the foreground with drawn bow. Behind him, a fragment of the Zodiac shows the sign of Leo, and at the top: a winged figure holds the Sun.This painting and its companions (P307 to P312) are copies of cartoons for the mosaics at the Chigi Chapel in the Roman church of Santa Maria del Popolo. Those cartoons were made by Raphael and the mosaics, by Alvise della Pace in 1516.The paint
The frieze arrangement of the figures places this work in the painter`s classical phase, which began in 1594, the same year as the date on this painting. In Van Thiel`s view, it could be the picture which the Haarlem City Council acquired from the painter in 1594, and which was presented as a gift to Coenraet Dircksz. de Rechtere in around 1601-08, in gratitude for services rendered between 1574 a
Representación alegórica del triunfo del Amor que lleva a Júpiter con los brazos atados en una suntuosa carroza tirada por cuatro caballos blancos. Entre las figuras que acompañan a la carroza, a la derecha de la composición, aparece Apolo portando una cítara como atributo de identificación del dios, y tras él un músico tocando una flauta de Pan.
A figure suddenly appears on the left in a forge where various blacksmiths are working, dressed in an orange robe and wearing a laurel wreath, with rays of light emerging from his head. This is Apollo, who addresses himself to Vulcan, the blacksmith nearest to him, whose stance reveals his lameness. Everyone has stopped working, astonished by the news Apollo is recounting: the adultery of Vulcan`s
Parnassus, the mythological mountain of Apollo and the Muses is the scene for a celebration of the Arts, especially Poetry. Apollo offers the nectar of the gods to a poet, probably Homer, who is crowned with a laurel wreath by Calliope, the muse of epic poetry. The putti in the foreground offer the poets the water of inspiration that flows from the spring of Castalia, personified by the nude woman
Apollo fights the terrible Python to free beautiful Andromeda, who was destined to be one of the victims of this monster. She is sketched in behind the beast. In the air, Cupid shoots his arrows into the God, alluding to the love arising between Apollo and Andromeda, as told by Ovid in his Metamorphoses. This sketch was made as part of the projected decoration of the Torre de la Parada and was use
Ovidio cuenta la transformación de Dafne en árbol en el libro I de las Metamorfosis (452-552): "(...) El primer amor de Febo fue Dafne, la hija de Peneo, un amor que no produjo el ignorante azar, sino la cruel ira de Cupido. (...) Apolo se disponía a seguir hablando cuando huye en temerosa carrera la hija de Peneo y lo dejó con la palabra en la boca(...). Agotadas sus fuerzas, palideció ella y ven
The scene represents a passage from Ovid´s Metamophoses. After killing the monstrous Python, Apollo falls victim to one of Cupid´s arrows, which inflames his impossible love of Jupiter´s daughter, Daphne. As in other scenes from the same series, this painting´s subject is the power of love, which dominates even the gods. As a collaborator on paintings made for the Torre de la Parada, Cornelis de V
This work´s subject is quite uncommon in Spanish painting, although frequent in Italian seicento works. It is drawn from Ovid´s Metamorphoses (VI, 337-382), which narrates how, fleeing Juno, Leto arrives at Lycia with her two children by Jupiter, Apollo and Diana. Despite her thirst, the local peasants hinder her efforts to drink in a small pond, and in her rage, she converts them into
This is a sketch of the fresco that Corrado Giaquinto painted in the former stairway at the Madrid’s Royal Palace, which is now the Hall of Columns. That fresco, his last work at the Royal Palace, is undoubtedly one of the finest paintings from Giaquinto’s Spanish period.He concluded it in 1762, so the sketch presented here must have been made slightly earlier. At the top is the figure of Apollo,
Sketch for the fresco adorning the ceiling of the Sala de Maria Luisa in the Casa del Labrador at Aranjuez. Beneath Flora in flight is the Earth goddess, Cybele, to whom some farmers pay their respects. On one side is Apollo, god of the sun, with the allegories of the Tagus and Jarama rivers that meet in Aranjuez. On the other is Ceres with sheaves of corn.
The drawing´s style points more in the direction of Giovanni Battista Castello than Cambiaso. Typically, Castello´s line-work is more consistent in thickness, with fewer and less powerfully emphasized accents. The almost humorous expressions of the protagonists have the same playful glint to the eye as is so often encountered in Castello´s graphic work. Originally, the sheet must have extended fur
In ancient mythology, Mars -the god of War- and Apollo -the god of the Sun, who is associated with omniscient powers of reasoning- come together as a result of Apollo´s discovery of the affair between Mars and Venus, the wife of Vulcan. Apollo witnessed their adultery, by dint of seeing and knowing everything that occurred in the world, revealing to Vulcan what had taken place on a visit to
Although published by Perez Sanchez as Naldini in 1978, a recent note on the modern museum mount in the hand of Mario di Giampaolo rightly suggests this drawing is by his pupil and close follower Balducci (for whom see Exh. Cat. 60). The light, almost racy pen-and-wash style is indeed more in keeping with Balducci´s compositional drawings than those in this same medium by his master Naldini,
Held by two young maids, Leto gives birth to Diana and Apollo before a temple portico. She is surrounded by women and children who help her bear the pain. A second group of children in the foreground contribute to sense of depth, reflecting a mannerist practice common in works by Giulio Romano and Primaticcio.In the Pastrana family inventory, this was considered a drawing of the death of Pandora,
Figura masculina semidesnuda y apoyada en un pedestal, podría ser una representación de Apolo. El dibujo, que parece preparatorio para escultura es, tal vez, napolitano de principios del siglo XVIII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VII. Dibujos italianos del siglo XVIII y del siglo XIX, Museo del Prado, 1990, p. 196).
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