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English: Giant Polyphemus, holding a drinking cup, is blinded by Odysseus and a companion (neck), lion confronts a boar (shoulder). Large Proto-Attic neck amphora, 142 cm, funerary, ca 650 BC. Large Proto-Attic neck amphora, 142 cm, funerary, ca 650 BC.
Arnold Böcklin pictures the giant as standing on rocks onshore and swinging one of them back as the men row desperately over a surging wave (see below), while Polyphemus is standing at the top of a cliff in Jean-Léon Gérôme's painting of 1902. He stands poised, having already thrown one stone, which barely misses the ship.
As recounted by Homer, the cyclops Polyphemus, who has trapped Odysseus and his crew in his cave home with a huge stone and begun to eat them, has been made drunk and fallen asleep. Odysseus cannot kill him as he would not be able to move the stone, so he heats the tip of a stake of olive wood in the cave in the fire and with that blinds the ...
On the neck of the vase, the figures depict Odysseus and his men blinding the cyclops Polyphemus. [2] The register just below the neck shows a lion chasing a boar. Although it is hard to see because the amphora was found in pieces and then reconstructed, the central register shows Athena and Perseus escaping after Perseus beheads Medusa. [3]
Articles relating to Polyphemus, his legends, and his depictions. He is the one-eyed giant son of Poseidon and Thoosa in Greek mythology , one of the Cyclopes described in Homer 's Odyssey . His name means "abounding in songs and legends", "many-voiced" or "very famous".
The Eleusis Amphora (c. 650–625 BC); Odysseus and his crew are blinding Polyphemus. Archaeological Museum of Eleusis, Inv. 2630. The Polyphemos Painter (or Polyphemus Painter) was a high Proto-Attic vase painter, active in Athens or on Aegina. He is considered an innovator in Attic art, since he introduced several mythological themes. His ...
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Her consort, one-eyed giant Polyphemus, after chancing upon the two lovers together, lobbed an enormous pillar and killed Acis – Sebastiano del Piombo produced a fresco of Polyphemus next to Raphael's work. Raphael did not paint any of the main events of the story. He chose the scene of the nymph's apotheosis (Stanze, I, 118–119).