The Abduction Of Ganymede
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The Abduction Of Ganymede
''The Rape of Ganymede'' may refer to: * ''Ganymede Abducted by the Eagle ''Ganymede Abducted by the Eagle'' (c. 1531–1532) is a painting by the Italian late Renaissance artist Antonio da Correggio. It is housed in the Kunsthistorisches Museum, Vienna, Austria. The work was part of a series executed by Correggio for ...'' (c. 1531–1532), a painting by Antonio da Correggio * ''The Rape of Ganymede'' (Mazza) (c. 1575), a painting by Damiano Mazza * ''The Rape of Ganymede'' (Rembrandt) (1635), a painting by Rembrandt * ''The Rape of Ganymede'' (Rubens) (1638–1639), a painting by Peter Paul Rubens See also * Ganymede (other) {{Disambiguation ...
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Ganymede Abducted By The Eagle
''Ganymede Abducted by the Eagle'' (c. 1531–1532) is a painting by the Italian late Renaissance artist Antonio da Correggio. It is housed in the Kunsthistorisches Museum, Vienna, Austria. The work was part of a series executed by Correggio for Federico II Gonzaga in Mantua, about the loves of Jupiter. The painting depicts Ganymede. History The series of Jupiter's Loves was conceived after the success of ''Venus and Cupid with a Satyr''. Correggio painted four canvasses in total, although others had been programmed perhaps. In the first edition of his ''Lives'', late Renaissance art biographer Giorgio Vasari mentions only two of the paintings, ''Leda'' (today at the Gemäldegalerie, Berlin) and one ''Venus'' (presumably the '' Danae'' currently in the Borghese Gallery of Rome), although he knew them only from descriptions provided by Giulio Romano. Vasari mentions that the commissioner, Duke Federico II Gonzaga, wanted to donate the works to emperor and King of Spain Charles ...
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The Rape Of Ganymede (Mazza)
''The Rape of Ganymede'' () is a painting by Damiano Mazza in the National Gallery, London. The artist's best-known painting, it depicts the legendary account of an eagle (either the Aetos Dios or a manifestation of Jupiter himself) kidnapping the handsome Ganymede and taking him to Mount Olympus to serve both as Jupiter's lover and as cupbearer to the gods. Some legends speak of Jupiter's eagle kidnapping Ganymede:Not only this, Jupiter's eagle turned to an imperial gold statue hanging it's claws on Jupiter's lightning bolt. "Ganymede was a beautiful Trojan prince who caught the eye of Zeus. Zeus sent His eagle down to bring Ganymede to Olympus to be His cup-bearer." – an excerpt from the ''Hellenic Temple of Apollon, Zeus, and Pan'' While other accounts speak of the eagle actually being Jupiter himself, transformed into the eagle to carry out this task:"Ganymede, a handsome boy, excited the passion of Zeus who, in the guise of an eagle, bore him away to Mount Olympus." â ...
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The Rape Of Ganymede (Rembrandt)
''The Rape of Ganymede'' (also called ''The Abduction of Ganymede'') is an oil painting of 1635 by the Dutch Golden Age painter Rembrandt, depicting the myth of Ganymede. It is in the collection of the Gemäldegalerie Alte Meister in Dresden. Painting This painting was documented by Hofstede de Groot in 1915, who wrote:207. THE RAPE OF GANYMEDE. Sm. 197; Bode 79; Dut. 106; Wb. 70; B-HdG. 197. The eagle of Zeus, seen in front with out-stretched wings, rises towards the heavens. He holds with his beak the clothing, and with his talons the left arm, of the fair curly-haired boy, who, turned sharply to the left and almost seen from the back, faces round to the spectator as if crying loudly, and with his right hand tries to repulse the bird. His light blue dress and shirt are pulled up by the eagle's claws so as to expose the whole of the boy's lower limbs. On the left the corner of a scarf with a tassel flaps in the wind. The boy, who in his fright makes water, holds cherries in ...
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The Rape Of Ganymede (Rubens)
''The Rape of Ganymede'' is a painting by the Flemish Baroque painter Peter Paul Rubens produced between 1636 and 1638 painting for the Spanish king Philip IV of Spain's hunting lodge.Peter Paul Rubens, ''The rape of Ganymede''
at the
The painting is based on a story recounted in classical poet ´s '''' (X, 155-161). It depicts the moment when the Roman supreme god
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