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Reign Of Comus (Lorenzo Costa)
The ''Reign of Comus'' is a Renaissance painting painted by Lorenzo Costa for the ''Studiolo'' of Isabella d'Este in the Ducal Palace, Mantua. It is in tempera on canvas, and measures 152 cm (59.8 in) by 238 cm (93.7 in). It is now in the Louvre in Paris. The first paintings for the Studiolo were completed by Andrea Mantegna, and he appears to have started this painting, but it was completed by Costa between 1506 - 1511, after Mantegna's death, when Costa had been named court painter. The iconography of this painting is complex. To the left of the foreground tree, a sitting Comus, the ruler of a land of bacchanals, with his head tilted looks at Venus. To his right, Apollo seems to serenade another sitting woman. In the center, Dionysus strokes the hair of a drunken maiden, identified as Nicaea. She had spurned his advances; and he overpowered her with wine in order to rape her. Meanwhile, to the right of an elaborate arch, Janus bifrons and Hermes shoo away poorly cloth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dionysus
In ancient Greek religion and myth, Dionysus (; grc, Διόνυσος ) is the god of the grape-harvest, winemaking, orchards and fruit, vegetation, fertility, insanity, ritual madness, religious ecstasy, festivity, and theatre. The Romans called him Bacchus ( or ; grc, Βάκχος ) for a frenzy he is said to induce called ''bakkheia''. As Dionysus Eleutherios ("the liberator"), his wine, music, and ecstatic dance free his followers from self-conscious fear and care, and subvert the oppressive restraints of the powerful. His '' thyrsus'', a fennel-stem sceptre, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a weapon used to destroy those who oppose his cult and the freedoms he represents. Those who partake of his mysteries are believed to become possessed and empowered by the god himself. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In Orphic religion, he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paintings In The Louvre By Italian Artists
Painting is the practice of applying paint, pigment, color or other medium to a solid surface (called the "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term ''painting ''describes both the act and the result of the action (the final work is called "a painting"). The support for paintings includes such surfaces as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete, and the painting may incorporate multiple other materials, including sand, clay, paper, plaster, gold leaf, and even whole objects. Painting is an important form in the visual arts, bringing in elements such as drawing, composition, gesture (as in gestural painting), narration (as in narrative art), and abstraction (as in abstract art). Paintings can be naturalistic and representational (as in still life and landscape painting), photographic, abstract, nar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paintings By Lorenzo Costa The Elder
Painting is the practice of applying paint, pigment, color or other medium to a solid surface (called the "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term ''painting ''describes both the act and the result of the action (the final work is called "a painting"). The support for paintings includes such surfaces as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete, and the painting may incorporate multiple other materials, including sand, clay, paper, plaster, gold leaf, and even whole objects. Painting is an important form in the visual arts, bringing in elements such as drawing, composition, gesture (as in gestural painting), narration (as in narrative art), and abstraction (as in abstract art). Paintings can be naturalistic and representational (as in still life and landscape painting), photographic, abstract, narrative, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Combat Of Love And Chastity
''The Battle Between Love and Chastity'' is a painting by the Italian Renaissance artist Pietro Perugino, now in the Musée du Louvre, in Paris, France. It was originally commissioned for the ''studiolo'' (cabinet) of Isabella d'Este, Marchesa of Mantua, in the Castello di San Giorgio. History The painting was the third commissioned by Isabella d'Este for her ''studiolo'', after the two canvasses by Andrea Mantegna, the ''Parnassus'' and the ''Triumph of the Virtues''. The paintings of the ''Coronation of Isabella d'Este'' and '' Reign of Comus'' would be completed by Lorenzo Costa. The subject was suggested by Isabella's court poet, Paride da Ceresara, documented by the correspondence between Isabella and Perugino, who was then active in Florence. The notary contract included all the details about the literary theme, as well as a drawing which the work had to be based on. For example, when Perugino painted a naked Venus, instead than dressed, the marchesa protested vigorously. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Triumph Of The Virtues (Mantegna)
The ''Triumph of the Virtues'' (also known as ''Minerva Expelling the Vices from the Garden of Virtue'') is a painting by the Italian Renaissance painter Andrea Mantegna, completed in 1502. It is housed in the Musée du Louvre of Paris. The ''triumph'' was the second picture painted by Mantegna for Isabella d'Este's ''studiolo'' (cabinet), after the ''Parnassus'' of 1497. It portrays a marsh enclosed by a tall fence, ruled over by the Vices, portrayed as hideous figures and identified by scrolls in a typically medieval way. Idleness is chased by Minerva, who is also rescuing Diana, goddess of chastity, from being raped by a Centaur, symbol of concupiscence. Next to Minerva is a tree with human features. High in the sky are the three primary moral virtues required to perfect the appetitive powers: Justice, Temperance and Fortitude Fortitude meaning courage or bravery is the ability and willingness to confront fear, pain, danger, uncertainty, or intimidation. It is one of the fou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parnassus (Mantegna)
The ''Parnassus'' is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is housed in the Musée du Louvre of Paris. History The ''Parnassus'' was the first picture painted by Mantegna for Isabella d'Este's ''studiolo'' (cabinet) in the Ducal Palace of Mantua. The shipping of the paint used by Mantegna for the work is documented in 1497; there is also a letter to Isabella (who was at Ferrara) informing her that once back she would find the work completed. The theme was suggested by the court poet Paride da Ceresara. After Mantegna's death in 1506, the work was partially repainted to update it to the oil technique which had become predominant. The intervention was due perhaps to Lorenzo Leonbruno, and regarded the heads of the Muses, of Apollo, Venus and the landscape. Together with the other paintings in the ''studiolo'', it was given to Cardinal Richelieu by Duke Charles I of Mantua in 1627, entering the royal collections with Louis XIV of Franc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Allegory Of Isabella D'Este's Coronation
The ''Allegory of Isabella d'Este's Coronation'' is a painting by the Italian Renaissance painter Lorenzo Costa the Elder, dating to about 1505–1506. It is displayed in the Louvre Museum of Paris, France. History The painting was the fourth commissioned by Isabella d'Este for her ''studiolo'', after two canvasses by Andrea Mantegna ('' Parnassus'' and the ''Triumph of the Virtues'', respectively from 1497 and 1499-1502) and Perugino's ''Combat of Love and Chastity'' (1503). The subject was provided by the court poet Paride of Ceresara and was initially assigned to Mantegna. However, after the latter's death in 1506, he was replaced by Lorenzo Costa, who deleted all the work made by his predecessor. Isabella liked the painting, and this granted Costa the position as the new court painter of the Gonzaga of Mantua. Duke Charles I of Nevers gifted this and the other paintings in the ''studiolo'' to Cardinal Richelieu, and the ''Allegory'' thus went to Paris. After belon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicaea (mythology)
In Greek mythology, Nicaea (; Ancient Greek: , ''Níkaia'', ) or Nikaia is a Naiad nymph ("the Astacid nymph", as referred to by Nonnus) of the springs or fountain of the ancient Greek colony of Nikaia in Bithynia (northwestern Anatolia) or else the goddess of the adjacent lake Ascanius. She is the daughter of the river-god Sangarius and the mother-goddess Cybele. By the god of wine, Dionysus, she mothered Telete (consecration) and Satyrus, as well as other children. Mythology Nonnus' account Nicaea was a huntress, devoted to the goddess Artemis from Astacia, a sworn virgin unacquainted with Aphrodite, the goddess of love. Eros made a young shepherd named Hymnus ("hymn") fall in love with her with a single arrow. One day, Hymnus stole Nicaea's hunting gear, her arrows, her nets, her lance, and quiver, lamenting his misfortune. Nicaea found him, and he pressured her to shoot him in the heart, so that he might be freed from the soreness of unrequited love. Angered, Nicaea o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bacchanalia
The Bacchanalia were unofficial, privately funded popular Roman festivals of Bacchus, based on various ecstatic elements of the Greek Dionysia. They were almost certainly associated with Rome's native cult of Liber, and probably arrived in Rome itself around 200 BC. Like all mystery religions of the ancient world, very little is known of their rites. They seem to have been popular and well-organised throughout the central and southern Italian peninsula. Livy, writing some 200 years after the event, offers a scandalized and extremely colourful account of the Bacchanalia, with frenzied rites, sexually violent initiations of both sexes, all ages and all social classes; he represents the cult as a murderous instrument of conspiracy against the state. Livy claims that seven thousand cult leaders and followers were arrested, and that most were executed. Livy believed the Bacchanalia scandal to be one of several indications of Rome's inexorable moral decay. Modern scholars take a ske ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Renaissance Art
Renaissance art (1350 – 1620 AD) is the painting, sculpture, and decorative arts of the period of European history known as the Renaissance, which emerged as a distinct style in Italy in about AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and technology. Renaissance art took as its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific knowledge. Along with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval period to the Early Modern age. The body of art, painting, sculpture, architecture, music and literature identified as "Renaissance art" was prim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Comus
In Greek mythology, Comus (; grc, Κῶμος, ''Kōmos'') is the god of festivity, revels and nocturnal dalliances. He is a son and a cup-bearer of the god Dionysus. He was represented as a winged youth or a child-like satyr and represents anarchy and chaos. His mythology occurs in the later times of antiquity. During his festivals in Ancient Greece, men and women exchanged clothes. He was depicted as a young man on the point of unconsciousness from drink. He had a wreath of flowers on his head and carried a torch that was in the process of being dropped. Unlike the purely carnal Pan or purely intoxicated Dionysos, Comus was a god of excess. Comus in art A description of Comus as he appeared in painting is found in '' Imagines'' (Greek Εἰκόνες, translit. Eikones) by Philostratus the Elder, a Greek writer and sophist of the 3rd century AD. Comus appears at the start of the masque '' Pleasure Reconciled to Virtue'' by Ben Jonson and in '' Les fêtes de Paphos'' (' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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