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The Rape of Proserpina (Italian: Ratto di Proserpina), more accurately translated as The Abduction of Proserpina, [1] is a large Baroque marble group sculpture by Italian artist Gian Lorenzo Bernini, executed between 1621 and 1622, when Bernini's career was in its early stage.
The Rape of Proserpina by Hans von Aachen (1587) Copy of The Rape of Proserpina by Vincenzo de' Rossi, on view near Cliveden House. The best-known myth surrounding Proserpina is of her abduction by the god of the Underworld, her mother Ceres' frantic search for her, and her eventual but temporary restitution to the world above.
Cinerary altar with tabula representing the abduction of Proserpina. White marble, Antonine Era, 2nd century Rome , Baths of Diocletian For most Greeks, the marriage of Persephone was a marriage with death, and could not serve as a role for human marriage; the Locrians, not fearing death, painted her destiny in a uniquely positive light. [ 124 ]
The Rape of Persephone, or Abduction of Persephone, is a classical mythological subject in Western art, depicting the abduction of Persephone by Hades.In this context, the word Rape refers to the traditional translation of the Latin raptus ('seized' or 'carried off') which refers to bride kidnapping rather than the potential ensuing sexual violence.
The legendary Italian sculptor was only 23 years old when he completed "The Abduction of Proserpina". Image credits: JamesLucasIT #9 The "Veiled Truth" By Antonio Corradini
The Abduction of a Sabine Woman was made from a single block of white marble, which became the largest block ever transported to Florence. Giambologna wanted to create a composition with the figura serpentina (S-curve) and an upward snakelike spiral movement. It was conceived without a dominant viewpoint; that is, the work gives a different ...
The Netflix docuseries 900 Days Without Anabel chronicles the true story of Segura, ... Her abduction held Spain in suspense for 900 days before her body was found in September 1995.
However, Proserpine's abduction is prefigured in the story of Arethusa and, as literary scholar Julie Carlson points out, the women can only join after Proserpine has been abducted. [42] In Shelley's version of the myth, paradise is lost not through the fault of women but through the interference of men. [43]