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Sísifo
Oil on canvas. XVII century
Anonymous
Sísifo
Oil on canvas. XVII century
Anonymous

The Palacio del Buen Retiro in Madrid boasted a full set of the Furias -Tantalus (P3784), Tityus (P3941), Ixion (P3785) and Sisyphus (P3942)-, now in the Museo del Prado; some scholars maintain that they were produced in Ribera’s work-shop, while others attribute them to the circle of the young Giordano (Falomir, M.: Las Furias. Alegoría política y desafío artístico, Mu

Tityus
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Tityus
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

In his Metamorphoses Ovid recounts the torments of the Giant Tityus, whose punishment for having attempted to rape the goddess Leto was to have two vultures devouring his continually regenerating liver for eternity. This work is Titian´s own late repetition of the original, painted by him for Mary of Hungary as part of a series of Furies. It was conceived as a warning for those who dared to challe

Tantalus
Oil on canvas. XVII century
Anonymous
Tantalus
Oil on canvas. XVII century
Anonymous

The Palacio del Buen Retiro in Madrid boasted a full set of the Furias -Tantalus (P3784), Tityus (P3941), Ixion (P3785) and Sisyphus (P3942)-, now in the Museo del Prado; some scholars maintain that they were produced in Ribera’s work-shop, while others attribute them to the circle of the young Giordano.

Prometheus
Oil on canvas. 1636 - 1638
Cossiers, Jan
Prometheus
Oil on canvas. 1636 - 1638
Cossiers, Jan

La historia de Prometeo, narrada en la obra Prometeo encadenado del poeta griego Esquilo y en la Teogonía del también poeta Hesiodo, cuenta como Prometeo robó el fuego de los dioses para dárselo a los hombres. La obra muestra el momento en el que Prometeo escapa del Olimpo con la llama, girando la cabeza para evitar que se descubra el robo. Esta pintura forma parte del programa decorativo de la To

Fire
Oil on canvas. 1675 - 1700
Anonymous
Fire
Oil on canvas. 1675 - 1700
Anonymous

This canvas by a late 17th-century painter is part of a group of four works, all at the Museo del Prado (P191, P3196, P3197 and P3198), that express the idea of the Elements through motives drawn from classical mythology. The image that embodies Fire might be taken for Jupiter, given his handful of lightening bolts and the shining star that accompanies him. However, it is more likely to be Prometh

Prometheus
Oil on panel. 1636 - 1637
Rubens, Peter Paul
Prometheus
Oil on panel. 1636 - 1637
Rubens, Peter Paul

The mythological hero, Prometheus, was Jupiter´s son. He defied the gods by stealing fire from them and giving it to Humanity in order to improve their life on Earth. This story told by Hesiod in his Theogony is depicted in Ruben´s sketch. Here, the artist captures the moment when, fleeing from heavenly Olympus, Prometheus looks back. Behind him, the ire of the gods is insinuated by the sunbeams t

The punishment of Promethus
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
The punishment of Promethus
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

The subject was previously wrongly identified as Jupiter carrying off Ganymede. An equally coarse version of the composition, by a follower, is also to be found in the Prado, thought it does not form part of the Album (D1912)

The punishment of Prometheus
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
The punishment of Prometheus
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

A variant composition, showing Prometheus in a slightly different position and with the group placed within a horizontal oval, is recorded in a drawing in the Victorian and Albert Museum, London. Ward-Jackson records two further versions of the London drawing: one formerly in the collection of George Knapton, which is engraved in Roger´s Imitations of Old Master Drawings (1778); and another on the

Prometheus
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on brown paper. XVI century
Anonymous
Prometheus
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on brown paper. XVI century
Anonymous

Prometheus is shown bound to a rock, with the eagle settled on his body, pecking at his side. The subject was previously wrongly identified as that of Jupiter Carrying off Ganymede. Another equally coarse version of the composition is in the Cambiaso Album, no.72, D01913. A slightly superior studio variant of the design showing differences in the pose of Prometheus is in the Staatlichen Graphische

Prometheus models the first man
White marble. Ca. 185
Roman Sculptor
Prometheus models the first man
White marble. Ca. 185
Roman Sculptor

This fragment of a Roman sarcophagus depicts the Titan, Prometheus, modelling a statue of a nude youth. Minerva touches its head with a butterfly (psyche in Greek, meaning soul), bringing it to life. The action takes place in a natural setting, with a naked river nymph and a clothed tree nymph.

Pandora
Wood. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (Attributed To)
Pandora
Wood. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (Attributed To)

These two works (E00937, E00483), which are exceptional examples of Spanish Renaissance art show El Greco´s knowledge of classical sculpture. Pandora was a beautiful woman made from clay by Hephaestus at Zeus´s request. Zeus wanted to punish Prometheus for revealing the secret of fire to man. Pandora was endowed with many talents, and she was also given a box containing all the evils that could af

Epimetheus
Wood. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (Attributed To)
Epimetheus
Wood. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (Attributed To)

These two works (E00483, E00937), which are exceptional examples of Spanish Renaissance art show El Greco´s knowledge of classical sculpture. Pandora was a beautiful woman made from clay by Hephaestus at Zeus´s request. Zeus wanted to punish Prometheus for revealing the secret of fire to man. Pandora was endowed with many talents, and she was also given a box containing all the evils that could af

Dionysus (Bacchus)
White marble. 190 - 210
Anonymous
Dionysus (Bacchus)
White marble. 190 - 210
Anonymous

This Roman work is based on a classical Greek model by the School of Polyclitus (c. 400 B. C.) known as the Dresden Ephebe. The statue of the athlete was transformed into the god of wine in the Roman period and a new head was added with a Dionysian band, an ivy wreath and grapes. The hands holding a goblet and grapes were added in the seventeenth century.

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