Bacchus and Ariadne, Daniel Vertangen
In Hesiod and most other versions, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. In a few versions of the myth, Dionysus appeared to Theseus as they sailed from Crete, saying that he had chosen Ariadne as his wife and demanding that Theseus leave her on Naxos for him; this had the effect of absolving the Athenian cultural hero of desertion. The vase painters of Athens often depicted Athena leading Theseus from the sleeping Ariadne to his ship.
She bore Dionysus famous children including Oenopion, Staphylus, and Thoas. Her wedding diadem was set in the heavens as the constellation Corona Borealis. Ariadne was faithful to Dionysus. Perseus killed her at Argos. In other myths she hanged herself from a tree, like Erigone and the hanging Artemis, a Mesopotamian theme. Some scholars have posited, because of her associations with thread spinning and winding, that she was a weaving goddess, like Arachne, and support this theory with the mytheme of the Hanged Nymph (see weaving in mythology). Dionysus descended into Hades and returned with her and his mother, Semele. They then joined the gods on Mount Olympus.
Daniel Vertangen (1601, Amsterdam – ca.1683, Amsterdam), was a Dutch Golden Age painter.
Uemura Shōen (Japanese, 1875 – 1949): Beautiful Woman Reading a Book (1941) (via Tokyo Fuji Art Museum)
Thinking of creating an Instagram account for this blog. Thoughts? Advice?
Blanche Hoschedé-Monet (French, 1865 – 1947): The arbour in Monet’s garden (via Millon)
Dora Wilson (British/Australian, 1882 – 1946): Old Rome (1927-1930) (via National Gallery of Victoria)
Antonietta Brandeis (Czech, 1848 – 1926):
two different views of the Grand Canal in the direction of Santa Maria della Salute
Angelica Kauffmann and Mary Moser in Henry Singleton’s The Royal Academicians in General Assembly (1795) (via Royal Academy of Arts)
From the museum website:
Behind President Benjamin West, to the left, are Angelica Kauffman and Mary Moser, the two founding women Academicians. They might be seen as relegated to the background but Elizabeth Eger says Singleton produced ‘a rare naturalistic portrayal of Kauffman and Moser, assured and at ease among their male contemporaries and set by the painter at the apex of the arrangement of figures.’ (Eger 2010 p.49) As women, Kauffman and Moser did not in fact attend meetings of the General Assembly, so would not have been present.
The paintings behind Kauffmann and Moser are Moser’s Spring and Summer
Annie Swynnerton (English, 1844 – 1933): The Letter (via Royal Academy of Arts)