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Diana and Callisto
Oil on canvas. Ca. 1635
Rubens, Peter Paul
Diana and Callisto
Oil on canvas. Ca. 1635
Rubens, Peter Paul

When Rubens visited the Spanish court in Madrid from late August 1628 until April 1629, he copied many of the numerous paintings by Titian in the royal collection. He was seduced by the radical technique of broken brushstrokes characteristic of the late works of the Venetian, which inspired his own way of painting from this time until his death in 1640. He must also have been drawn by the emotiona

Diana and Callisto
Oil on canvas. Ca. 1650
Martínez del Mazo, Juan Bautista
Diana and Callisto
Oil on canvas. Ca. 1650
Martínez del Mazo, Juan Bautista

After studying the canvas, the pigments, and the technique of this work as well as Diana and Callisto (P00424), we can be sure that they are Spanish copies from the 17th century. This makes them extremely interesting as components of the Madrid style during Carreño and Rizi’s generation. The originals of these paintings, some of the masterpieces by Titian in his final years, belonged to the

Diana and Callisto
Oil on canvas. 1745 - 1749
Pierre, Jean-Baptiste-Marie
Diana and Callisto
Oil on canvas. 1745 - 1749
Pierre, Jean-Baptiste-Marie

In Book II of his Metamorphosis, Ovid tells how Jupiter tricked Callisto. This very beautiful nymph who was part of Diana the Huntress´ entourage was seduced by Jupiter, who took on the appearance of that goddess. When she became pregnant, Callisto attempted to hide her state from Diana, who was a virgin and demanded the same of all her entourage. Jupiter converted his lover into a bear in order t

Diana and Callisto
Black chalk, Pencil, Grey-brown wash on dark yellow paper. First half of the XVIII century
Amigoni, Jacopo
Diana and Callisto
Black chalk, Pencil, Grey-brown wash on dark yellow paper. First half of the XVIII century
Amigoni, Jacopo

Dibujo en el que se representa a la izquierda, en pie y ante un fondo de paisaje, a Diana; a la derecha, sentadas junto al río y rodeando a Calisto, varias ninfas. Es apunte seguro de mano de Amiconi, semejante por su estilo y por los modelos de las figuras a otros dibujos de este tipo del artista. Un dibujo más terminado, también a pluma, de una composición semejante se encuentra en el Kupferstic

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