Analyse and interpret three sixteenth-century works of art depicting mythological subjects. You may choose your examples from painting and/ or sculpture.

Mythological subjects were very popular amongst artists/ sculptors during the 16th century. This was predominately as a result of humanist education amongst artists and the ever so increasing rise of educated patrons; who valued the philosophy of Neo-platonism. The mythological subjects depicted were usually scenes of gods and goddess’, as this linked back to classical antiquity; a characteristic that was key in the High Renaissance. Mythology was also able to convey allegorical images and gave context of the past. The works of art I have chosen to discuss are Titian’s Bacchus and Ariadne, Cranach’s Cupid complaining to Venus and Giambologna’s Mercury.

Bacchus and Ariadne, was one of three works commissioned by Alfonso d’Este for his private apartments. Painted in 1523-4, Titian depicts Bacchus (the god of wine) and his followers on return from India, celebrating their win in war. Titian shows this celebration through the movement of the figures, which suggest they are dancing and drinking. For example, Bacchus rides in on a chariot lead by two cheetahs, followed by the intoxication of his revellers behind him. This movement occurs in a diagonal direction, where the figures come forward into the foreground, suggesting speed and excitement. The cheetahs not only symbolise the athleticism of Bacchus, which is also emphasised by his pose but it shows that Titian has used contemporary sources to enhance his representation of antiquity by painting the cheetahs from d’Este’s private zoo, instead of from his own imagination.

Whilst on Islands of Naxos they discover Ariadne who has been deserted by Theseus; his ship can been seen in the distance, on the left hand side, behind Ariadne. Bacchus is shown leaping out of his chariot and posed like a Greek athlete. Bacchus is instantly intoxicated by Airadne, where as Ariadne is initially frightened by him but Bacchus promises to turn her into a constellation. We can see from Bacchus’s pose that he has thrown Ariadne’s crown into the sky, creating a halo of stars. Ariadne pose is very complicated: she has just been mourning the loss of her lover but also in that moment is turned and transfixed by Bacchus’s gaze. Bacchus is full of energy as he literally flies out of his chariot, his drape wild behind him. His foot is supported by nothing; you feel his weight as it just flies over the edge of his chariot. Each figure embodies two opposing actions. Ariadne moves forwards but also turns to the right, whist Bacchus lurches forwards towards Ariadne but also his arms move back, while his head and shoulders move forward. They were both so involved with doing something else and yet have been so drawn to each other so unexpectedly that their hands and arms are still tracing their previous action.

Titian shows his knowledge of antiquity by painting the man entwined with snakes, which is very reminiscent of the sculpture of Laccöon. The atmosphere conveys a sense of positivity through the use of bright colours and lively, dynamic figures. This painting speaks to a man who wanted to express his knowledge of antiquity and of course be a great patron of the Renaissance. Through looking at this painting we see what Venice is know for: the use of colour (blue, pink, red and green), giving the image a prismatic, almost gem like quality; a result achieved by his glazing technique. The brown earthy tones on the right hand corner compared with the clarity of those blues and reds on the left, helps the narrative by showing the contrast between the love that’s going on between the lovers and the celebration of the followers on the right.

Cranach’s Cupid complaining to Venus (C.1525), is again another mythological work but by a Northern European painter. It portrays Venus (goddess of love) and her son Cupid, who has reached up for a honeycomb and as a result has been stung by the bees. The Latin in the right hand corner translates to: ‘ life’s pleasure is mixed with pain’, and so Cranach has conveyed this idea by painting Venus so seductively; he is challenging us with lust and whether pleasure is worth the pain, which can be represented by Cupid. Cranach continually reminds us of this temptation throughout the painting, for example, the way Venus’ leg strokes the branch which is between her legs and the religious parallel between Venus and Eve, in regards to the tree of temptation — Cranach does this to show how humans haven’t learnt from Eve’s mistake and the consequences that can follow.

This mythological subject has been influenced a lot by Cranach’s patron, the electors of Saxony and addresses why Venus wears a ‘vampy’ headdress, as this is what the women in the court of Saxony would have worn. Venus in this painting is very tall and slender, which is unlike other images depicted of the goddess, again this is because the patron preferred women to look like that. It could also be said that this is because of a lack of classical past in Saxony and so Cranach’s work does not conform to the classical ideal of a curvaceous figure. The landscape in the background is also very much German influenced: the wooded forest to the left and castles along the waterfront on the right, shows that this painting is not only based on myth but it also has been injected with a sense of reality and something that is relatable.

Giambologna’s Mercury (1580) was commissioned to be a fountain figure at Ferdinando de’ Medici’s villa in Rome. Mercury, (the messenger god) balances on a bronze column of air that blows out from the mouth of Zephyr, giving the illusion that he is floating. Another interpretation, based on Aristotle’s writings, would relate this representation of the god to the purification, through evaporation, of water that rises from the earth. This symbolism would be appropriate for a fountain figure. Still another idea, related to the element mercury, refers to the way it becomes vaporous when heated. This could be seen as the sculptor’s allusion to molten metal, which is transformed through the casting process into a new creation.

Mercury assumes an arabesque, balanced precariously on his toes and points upwards to Jupiter. Giambologna not only achieves this but also creates the illusion of overcoming weighted dead matter, which creates the sensation of a rapid flight through air. This movement can be seen through Mercury’s position: he points upwards, he has wings on his helmet and feet and he balances on one leg — this exaggerated contrapposto, allows Mercury to take all his weight on to his engaged leg, enabling him to elongate the diagonal of his body so much that his left leg and right leg almost touch. The bronze enabled Giambologna to create this sense of dynamic movement in Mercury because it’s a medium which can be easily manipulated and hence, allowed the sculptor to create a lot of detail; signifying Mercury’s purpose as a messenger god.

The three works I have discussed show the variety of images produced in Italy and beyond, in 16th century painting and sculpture. The education of patrons, such as Alfonso d’Etste, allowed for mythological subjects to be painted due to the expanding interest in humanism and Neo-platonic values. Although the artist at times may not have painted the mythological subject accurately or in the style that was universally known; we still understand what the subject or theme is due to this humanist education.