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Roman, Apollo and Daphne, c. 62–79 A.D., fresco from South wall of Casa dell’Efebo, Pompeii showing Apollo holding a sprig of laurel, while Daphne is perhaps dancing. It likely reflects a pre-Ovidian source. [1] Apollo and Daphne is an Ancient Greek transformation or metamorphosis myth.
In his Dialogues of the Gods, satirical author Lucian of Samosata has Apollo call Daphne and Hyacinthus his two greatest loves, and regret losing them both; he declares himself unlucky in love, especially since Daphne found the option of becoming a tree more attractive than him. [23] Eros also mentions to Zeus Daphne not falling for Apollo. [24]
Apollo and Daphne is a life-sized marble sculpture by the Italian artist Gian Lorenzo Bernini, which was executed between 1622 and 1625. It is regarded as one of the artistic marvels of the Baroque age.
Apollo e Dafne (Apollo and Daphne, HWV 122) is a secular cantata composed by George Frideric Handel in 1709–10. Handel began composing the work in Venice in 1709 and completed it in Hanover after arriving in 1710 to take up his appointment as Kapellmeister to the Elector, the later King George I of Great Britain. [1]
Apollo and Daphne (c. 1470–1480). Apollo and Daphne is a c.1470–1480 oil on panel painting, attributed to Piero del Pollaiuolo and/or his brother Antonio).William Coningham acquired it in Rome in 1845 and in 1876 Wynne Ellis left it to the National Gallery, London, where it still hangs. [1]
Image credits: JamesLucasIT Sculpture as an art form dates back to 32,000 years B.C. Back then, of course, small animal and human figures carved in bone, ivory, or stone counted as sculptures.
When Apollo taunts Cupid as the lesser archer, Cupid shoots him with the golden arrow, but strikes the object of his desire, the nymph Daphne, with the lead. Trapped by Apollo's unwanted advances, Daphne prays to her father, the river god Peneus, who turns her into a laurel, the tree sacred to
The stag as a gift from Apollo reflects the custom in Archaic Greek society of the older male giving his beloved an animal, an act often alluded to in vase painting. [5] In the initiatory context, the hunt is a supervised preparation for the manly arts of war and a testing ground for behavior, with the stag embodying the gift of the hunter's prey.