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#metamorphoses – @didoofcarthage on Tumblr
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Dido, Queen of Carthage

@didoofcarthage / didoofcarthage.tumblr.com

Art, History, Literature, and the Ancient World
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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

Source: rct.uk
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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. 
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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.
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Tempus edax rerum, tuque, invidiosa vetustas, omnia destruitis, vitiataque dentibus aevi paulatim lenta consumitis omnia morte.

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.” 

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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)

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