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Danaë and the Shower of Gold
Oil on canvas. 1560 - 1565
Titian (Tiziano Vecellio)
Danaë and the Shower of Gold
Oil on canvas. 1560 - 1565
Titian (Tiziano Vecellio)

The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554, Museo del Prado, P422), versions of other previous works, but endowed with all the prestige of the commissioning party. In turn, these works became models for numerous replicas (Danaë receiving the Golden Rain, 1560-65, Museo del Prado, P425).Danaë depicts the moment

Allegory of the Education of Philip III
Oil on canvas. Ca. 1590
Tiel, Justus
Allegory of the Education of Philip III
Oil on canvas. Ca. 1590
Tiel, Justus

Philip III (1578-1621) was the son of Philip II and his fourth wife, Anne of Austria. Tiel portrays Philip while he was heir to the throne. He is depicted standing, full-length, and wearing an elaborate suit of Milanese armour and a helmet. Like Hercules at the Crossroads, he must choose between Virtue and Vice, helped by Chronos who pushes Cupid away while bringing the figure of Virtue closer to

Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis
Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis

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

Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van
Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van

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.

Landscape with Psyche and Jupiter
Oil on canvas. Ca. 1610
Rubens, Peter Paul; Bril, Paul
Landscape with Psyche and Jupiter
Oil on canvas. Ca. 1610
Rubens, Peter Paul; Bril, Paul

On a number of occasions, Peter Paul Rubens partially overpainted finished pictures. He did this to paintings by his own hand, such as Nymphs and Satyrs (P1666), which he retouched and enlarged twenty years after he first painted it. He also made changes to drawings and paintings by other artists that he owned. This painting is an example of such reworking, albeit in a radical mode that changed th

The Rape of Europe
Oil on canvas. 1628 - 1629
Rubens, Peter Paul
The Rape of Europe
Oil on canvas. 1628 - 1629
Rubens, Peter Paul

Rape of Europa is a faithful copy made by Peter Paul Rubens in Madrid after an original by Titian. It shows the Phoenician princess Europa after she was abducted by Zeus, who had taken on the form of a white bull. The fearful princess, barely holding on to one of the bull´s horns, was taken to Crete, where she bore Minos. The story was told by several ancient sources, among them Ovid (43 BCE-CE 17

Jupiter and Lycaon
Oil on canvas. 1636 - 1638
Cossiers, Jan
Jupiter and Lycaon
Oil on canvas. 1636 - 1638
Cossiers, Jan

Licaón, un horrible gobernador de la Arcadia que sembraba el terror en su región, quiso comprobar la divinidad de Júpiter dándole de comer carne humana. Ovidio narra esta historia en el libro I de las Metamorfosis (207-243): "(...) Al principio Licaón se rió de su piadosas plegarias, después dijo: "Voy a ver con una prueba clara, si éste es un dios o un mortal, y la verdad será indubitable" (...)

Marriage of Peleus and Thetis
Oil on canvas. 1636 - 1638
Jordaens, Jacques
Marriage of Peleus and Thetis
Oil on canvas. 1636 - 1638
Jordaens, Jacques

As with the Rape of Hippodamia (P01658), this marriage scene was commissioned from Rubens as part of the mythological cycle drawn from Ovid´s Metamorphoses, which was to serve as the main artistic decoration of the Torre de la Parada. While Rubens prepared the oil sketch for the scene (Art Institute of Chicago), the Marriage of Peleus and Thetis was one of the numerous full-scale canvases whose ex

The Birth of the Milky Way
Oil on canvas. 1636 - 1638
Rubens, Peter Paul
The Birth of the Milky Way
Oil on canvas. 1636 - 1638
Rubens, Peter Paul

Hercules was born from one of Jupiter´s affairs with a mortal. Though loved and protected by his father, he was repudiated by the latter´s wife, Juno. In order to insure his son´s immortality, Jupiter placed him in the goddess´s arms so that he could suckle while she was sleeping next to her chariot pulled by peacocks. When, in his enthusiasm, Hercules bites her, Juno awakens and brusquely pulls h

The Rape of Ganymede
Oil on canvas. 1636 - 1638
Rubens, Peter Paul
The Rape of Ganymede
Oil on canvas. 1636 - 1638
Rubens, Peter Paul

Jupiter was so taken with Ganymede´s beauty that he transformed into an eagle to carry him off to Mount Olympus, where he became his cup-bearer. Rubens drew this story from the classical poet, Ovid´s Metamorphoses (X, 155-161). He depicts the moment when the eagle catches the young shepherd and lifts him into the air. The diagonal composition has a distinctly ascending sense and the lightening bol

Jupiter and Antiope
Oil on canvas. 1745 - 1749
Pierre, Jean-Baptiste-Marie
Jupiter and Antiope
Oil on canvas. 1745 - 1749
Pierre, Jean-Baptiste-Marie

This scene from Book VI of Ovid´s Metamorphosis, shows the god Jupiter´s seduction of the nymph, Antiope. This very beautiful nymph was seduced by the Lord of Olympus, who took the form of a satyr for the occasion. Pierre depicts the moment of the initial trickery, when Antiope abandons herself in Jupiter´s embrace. The plasticity of the figures and the pastel color scheme are outstanding, and rai

Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco
Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco

Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came about under the influence of Antonio González Velázquez (1723-93), who visited Zaragoza soon after returning from Italy in 1752, carrying models and drawings by his Italian

The Rape of Ganymede
Oil on canvas. 1778
Julien de Parma
The Rape of Ganymede
Oil on canvas. 1778
Julien de Parma

Captivated by the beauty of Ganymede, Jupiter abducted him after turning himself into an eagle and carried him up to Olympus. The young Ganymede is carried to heaven by the eagle, while the shepherds look helplessly at the strange prodigy.

Jupiter and Semele
Pencil, Pencil ground, Grey-brown ink, Blue wash on paper. XVI century
Anonymous
Jupiter and Semele
Pencil, Pencil ground, Grey-brown ink, Blue wash on paper. XVI century
Anonymous

Sacrifice to Jupiter
Pencil, Grey-brown wash on yellow paper. XVIII century
Ximeno y Carrera, José Antonio
Sacrifice to Jupiter
Pencil, Grey-brown wash on yellow paper. XVIII century
Ximeno y Carrera, José Antonio

The scene in this drawing takes place in a rotunda inside a Doric temple, at the foot of a statue of Jupiter. He is seated holding bunches of thunderbolts in both hands. A priest exhorts a young man kneeling before the altar while servants prepare the sacrifice.It is similar in technique and character to those signed by Ximeno; therefore, it may be probably attributed to him.This drawing is an ill

Sacrifice to Jupiter
Pencil, Grey-brown wash, White lead on yellow paper. XVIII century
Ximeno y Carrera, José Antonio
Sacrifice to Jupiter
Pencil, Grey-brown wash, White lead on yellow paper. XVIII century
Ximeno y Carrera, José Antonio

This drawing is set inside a Doric temple. In the background behind the columns is the statue of a seated Jupiter with the figure of Victory in his right hand, in the style of Phidias’s Olympic Jupiter. Around an altar in the foreground, priests are preparing the sacrifice. A servant attends to a freshly slaughtered bull.The drawing is an illustration for a book and a companion to D2014.

Aegis-Bearing Jupiter
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
Aegis-Bearing Jupiter
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

Aegis-Bearing Jupiter
White marble. Ca. 150
Roman Sculptor
Aegis-Bearing Jupiter
White marble. Ca. 150
Roman Sculptor

The Roman image of Jupiter, inspired by a statue of Zeus from the fifth century B. C., shows the god wearing the aegis (protective cloak) which, according to Homer, was used by Zeus as a weapon to create clouds and thunderstorms. Zeus later gave it to Athena as a magic shield. The sculpture was restored to include a lightning bolt in the right hand.

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