Philemon and Baucis by Rembrandt van Rijn
Dutch, 1658
oil on panel transferred to panel
National Gallery of Art, Washington, D.C.
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Philemon and Baucis by Rembrandt van Rijn
Dutch, 1658
oil on panel transferred to panel
National Gallery of Art, Washington, D.C.
Bacchus Transforming into Trees the Thracian Women Who Murdered Orpheus (and detail) by Battista Dossi, a modello for one of the tapestries of the Metamorphoses for which Dossi was paid in 1545
Italian, c. 1545
pen and ink with white and grey wash on paper
Royal Collection Trust
Apollo and Daphne (with detail of Apollo) by Luca Giordano (called Fa Presto)
Italian, possibly 1680s
oil on canvas
private collection
Cadmus and Harmonia Changed into Snakes
Bernard Picart
1732
From Ovid’s Metamorphoses:
Those of his companions who were present were horrified, but she just calmly stroked the smooth, sleek neck of the crested dragon, and at once there were two serpents intertwined, who presently went crawling off and found a hiding place within a nearby grove.
But these days, they no longer flee from men, nor do they harm them; mindful of their former identities, they’re very gentle dragons.
Landscape with the Judgment of Midas by Gillis van Conixloo
Flemish, 1588
oil on panel
Staatliche Kunstsammlungen Dresden
The Age of Gold, The Age of Silver, The Age of Bronze, and The Age of Iron, from the series Ovid’s Metamorphoses, by the workshop of Hendrick Goltzius
Dutch, 1589
engraving
Philadelphia Museum of Art
Thisbe Frightened by the Lion and Deucalion and Pyrrha Repeopling the Earth, and The Giants Climbing the Heavens, from the series Ovid’s Metamorphoses, by the workshop of Hendrick Goltzius
Dutch, 1589-1590
engraving
Philadelphia Museum of Art
Coronis Changed into a Crow, Daphne Changed into a Laurel Tree, and Battus Changed into a Stone, from the series Ovid’s Metamorphoses, by the workshop of Hendrick Goltzius
Dutch, 1589-1590
engraving
Philadelphia Museum of Art
Diana Discovering the Pregnancy of Callisto and Juno Turning Callisto into a Bear, from the series Ovid’s Metamorphoses, by workshop of Hendrick Goltzius
Dutch, c. 1590
engraving
Philadelphia Museum of Art
Apollo Killing Python, Cadmus Killing the Dragon, and Arcas Preparing to Kill His Mother, from the series Ovid’s Metamorphoses, by workshop of Hendrick Goltzius
Dutch, 1589-1590
engraving
Philadelphia Museum of Art
Clymene Urging Phaeton to Find Helios, Phaeton Asking for the Chariot, Phaeton Driving the Chariot of the Sun, The Fall of Phaeton, and Phaeton's Sisters Changed into Poplars and Cygnus into a Swan, from the series Ovid’s Metamorphoses, by the workshop of Hendrick Goltzius
Dutch, 1589-1590
engraving
Philadelphia Museum of Art
Landscape with Baucis and Philemon, after the painting by Peter Paul Rubens in the Kunsthistorisches Museum, Vienna
Flemish, 1630
oil on panel
Philadelphia Museum of Art
Perseus and the Origin of Coral by Claude Lorrain. French, c. 1671 Metropolitan Museum of Art.
From the Met:
The rarely depicted subject of “Perseus and the Origin of Coral” is derived from Ovid's Metamorphoses. This drawing is one of seven known preparatory studies for one of Claude's most important late paintings: Coast View with Perseus and the Origin of Coral (Coke Collection, Holkham Hall, Norfolk), four of which depict the entire composition. The painting was commissioned by his patron, Cardinal Camillo Massimi, and executed in 1674.
P. Ovidius Naso (Ovid), Amores 3.11.7
“Suffer and endure! One day this grief will be useful to you.”
P. Ovidius Naso (Ovid), Metamorphoses 15.234-235
“Time, the devourer of things, and you, envious old age, destroy all, and little by little you consume all things, having been corrupted, with the teeth of eternity and slow death.”
Anonyme
Pyrame et Thisbé, début du 17e siècle, huile sur bois, 63,5x54,5 cm
Musées de Saintes
Toute la tonalité chromatique du tableau est agencée pour focaliser le regard sur le drame qui se joue. Des camaïeux de bleus et de verts, couleurs couramment utilisées dans la peinture de paysages flamands à la fin du XVIème et au début du XVIIème, sont employés pour donner de la profondeur à la composition, d’une part et accentuer la valeur très symbolique du ton rouge qui est au cœur de la narration, d’autre part. (Via: Alienor.org - Conseil des Musées)