A few years later, Jean-Baptiste Marie Pierre painted his The Rape of Europa (1750), which at least advances the story to the point where the bull is accelerating away from the shore. Jove laid aside his glorious dignity, Rembrandt, his life, his paintings. Director of the Academy in July 1770, in January 1778 Pierre was appointed director in perpetuity, a position created especially for him. Europa’s Abduction Myth: Black-Figure Trefoil Oinochoe (Wine Jug), Europa on Bull, c. 530 BCE, The Cleveland Museum of Art, Cleveland, Ohio, USA. This time, Jupiter assumes the appearance of a white bull, placed among a herd which is visited by Europa and her companions: and mingled with the bullocks in the groves, so small and beautifully set, appeared Ovid’s account of the abduction of Europa is found in Book II 833-75 of Metamorphoses. The use of an ancient myth to impart a contemporary thought and his portrayal of the scene using the High Baroque style are two strong aspects of the work. Howard. The Roman poet Ovid (43 BC-BCE 17) tells how Jupiter took the guise of the bull in order to abduct Europa, the beautiful daughter of the king of Tyre. Jove then began to frisk upon the grass, Have additional info? François Boucher’s The Rape of Europa (1732-34) is one which does this favour to the viewer, although he seems to have ignored the fact that the bull was white. The final myth in Book 2 of Ovid’s Metamorphoses is told very briefly – in less than thirty lines of Latin – and ends part way through the story. The literary comments of van Mander are essential to deconstructing the allegorical subject of Europa. The Abduction of Europa is Rembrandt’s reinterpretation of the story, placed in a more contemporary setting. [18] Naturalism plays a strong part in other aspects of the piece. Just as Specx’s career was to move treasures of Asia to Europe by ship, so too is Europa moved from her Eastern home to Europe. According to the legend, Europa was the epitome of feminine beauty on Earth. Rembrandt. Wikimedia Commons. I am very grateful to Perseus at Tufts for this. Doing so requires two actors: Europa, a fair maiden, and a white bull, which the viewer must recognise as Jupiter in disguise. When Europa and her friends notice the bull retreating further into the sea without coming back, the bull transforms into Zeus and carries her to Mount Olympus on the island of Crete. Rembrandt makes these changes not only to set himself apart from Titian, but also to gear the work specifically in mind to the commissioner of the work. his colour white as virgin snow, untrod, Once she sits upon him, Jupiter edges to the nearby shore, then suddenly whisks her off across the Mediterranean: The sea deity riding on a dolphin, beneath the figures of Europa and the Bull, is an energetic study of a male torso flung backwards and opposing the force of the surrounding waves. The Italian artist, Titian, created a similar work nearly seventy years before. During this time, the international High Baroque style was popular. [17] The idyllic shore and the detailed reflections in the water show the growing interest in naturalism in art. nor was there fury in his open eyes; Over sixty years later, in 1628-29, Rubens made a copy which is rightly as famous as the two Titians, in his The Rape of Europa, which is now in rather better condition than Titian’s originals, and one of the treasures of the Prado in Madrid. Europa mounts the bull, which quickly whisks her away into the ocean. and more transparent than a lucent gem. and not a moment resting bore her thence, Metamorphoses. the god moved from the land and from the shore, [5] Specx had established a trading center in Japan in 1609, served as the Governor of Batavia (former name of Jakarta, the Indonesian capital), and later returned to Holland in 1633. Rembrandt contrasts the dark trees against the light blues and pinks skies. New York: Viking, 1985. Mythology in Art: The Abduction of Europa . The abduction of Europa has long been one of the most popular stories for paintings, and innumerable artists have painted its scenes. As her courage grew For without a white bull and a visual clue that this is not just a bull, they could just be depicting a beautiful bird on the back of a bolting bull, couldn’t they? His work in mindful of the patron, painted in the popular High Baroque style, and incorporates the influences of earlier artists like Titian. Peter Paul Rubens (1577–1640), The Rape of Europa (copy of Titian's original) (1628-29), 182.5 × 201.5 cm, Museo Nacional del Prado, Madrid. wreathed for his polished horns. He gives a fuller account of this myth elsewhere (in his Fasti), as do many other classical authors. Open Content images tend to be large in file-size. [15] The portrayal of Tyre, though, seems fairly modern with the inclusion of a crane, a tool which did not exist in the first century when Ovid was alive. Brookes More. This style was popular in Leiden, his birthtown. Westermann, Mariët. the artifice of man; fashioned as fair Camille Gizzarelli What began as a story from Roman mythology by the poet Ovid in 8 AD would become the subject of a painting made famous by Titian and Rubens over a millennium later. Press Esc to cancel. across the surface of the Middle Sea, She writes, “When the Secretary to the Staudthouder asked the two young painters [Rembrandt and Jan Lievens] why they did not undertake the journey to Italy to study the great monuments there, and especially the works of Raphael and Michelangelo, they replied that there was an abundance of Italian art already to be viewed in Holland.”[22] The presence of Italian art must have been strong, for Rembrandt kept a portrait of Titians’ Money-changers in his studio.
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