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    The document discusses various artistic depictions of the Greek myth of Apollo pursuing the nymph Daphne. It notes that Tiepolo shows Daphne turning to her father for help, while Rubens and Bernini depict the chase as more of a sensual game between the lovers. Poussin often sets the scene near water, as Daphne was a water nymph. Later works discussed include those by Waterhouse, Lloyd, and Klimt. The document also compares the myth of Apollo and Daphne to the myth of Tereus, Procne and Philomela, noting both explore passion's ability to overcome restraint.

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    The document discusses various artistic depictions of the Greek myth of Apollo pursuing the nymph Daphne. It notes that Tiepolo shows Daphne turning to her father for help, while Rubens and Bernini depict the chase as more of a sensual game between the lovers. Poussin often sets the scene near water, as Daphne was a water nymph. Later works discussed include those by Waterhouse, Lloyd, and Klimt. The document also compares the myth of Apollo and Daphne to the myth of Tereus, Procne and Philomela, noting both explore passion's ability to overcome restraint.

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    200 views10 pages

    Daphne and Apollo

    Uploaded by

    dakh.derot
    The document discusses various artistic depictions of the Greek myth of Apollo pursuing the nymph Daphne. It notes that Tiepolo shows Daphne turning to her father for help, while Rubens and Bernini depict the chase as more of a sensual game between the lovers. Poussin often sets the scene near water, as Daphne was a water nymph. Later works discussed include those by Waterhouse, Lloyd, and Klimt. The document also compares the myth of Apollo and Daphne to the myth of Tereus, Procne and Philomela, noting both explore passion's ability to overcome restraint.

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    of 10

    Daphne and Apollo.

    Tiepolo. (1696-1770). Some painters feature Daphnes father, to whom she turns for help to escape Apollo. This usually gives a sense of Apollos love for Daphne being wholly unrequited.

    Rubens. (1577-1640) Bernini (1598-1680) These Baroque danced depictions of the story focus on the lovers themselves- here the depictions appear to be more complex- Daphnes turned head in the Rubens sketch almost turns the chase into a game, whilst Berninis depiction is sensual in the closeness of the figures. Lust/love?

    Poussin (1594-1665) Classical depictions often are also set near water- Daphne was a water nymph.

    (del Pollaiolo- interesting variation in Medieval costume)

    Waterhouse (1849-1917)

    David Lloyd (Contemporary)

    Klimt, of course (1862-1986)

    Kate MacDowell (Contemporary) A portrayal of Daphne that is closer to Ovids interpretation of the relationship between Daphne and Apollo. The artist pushes his sympathetic portrayal of Daphne as an innocent victim a step further in depicting Apollos desire for her as destructive. If you wish to characterise Apollos feelings for Daphne as pure desire rather than unrequited love, this aspect of the story has neat parallels with stories of gods pursuing maidens (Zeus and Danae, Europa), though with more successful consequences.

    The myth of Tereus-Procne-Philomena reiterates motifs and imagery of the myth of Apollo and Daphne, and also appears in Ovids Metamorphoses. Both explore passions power to cause either man or god to lose self-restraint. Tereus is married to Procne, but falls under the spell of Philomenas beauty. The problem now lies in the human heart, not with the gods. Ovid describes passion as an unquenchable fire, but one that can willingly be fed. As he watches Philomela kiss her father goodbye, Tereus' fantasy fuels the flames even to incestuous desires as he wishes he were her father at that moment. Ovid compares Tereus to an eagle with its prey, again like the Apollo/Daphne episode. In versions by Apollodorus and Hyginus, Tereus tells the family Procne is dead, so he can "marry" Philomela; here he seems innocent of any evil desires at first, until overcome by her beauty. There is a large number of paintings such as this- Rubens Rape of the Daughters of Leucyppus- that depict a woman (or women) as a helpless object of a mans desire, much as Daphne appears before her transformation.

    As a foil to Daphne and Apollo, love is also shown to have transformative effects in the myth of Pygmalion and Galatea. Pygmalion was an artist who fell in love with his own creation, wishing she became real. Venus granted him this wish and the stone statue turned to the human figure of Galatea.

    The story of Apollo and Daphne was originally an etiological account of the origin of the laurel (one of the attributes of Apollo), yet the story is recognised for its motif of the rejected lover. Apollos failure in his erotic agon is echoed in stories of rejected courtly love. - Petrarchs Canzoniere: a portrayal of tortured love and the pain of female rejection: Daphne becomes Laura, and Apollo becomes the Petrarchan poet-lover. Laura is both chaste and sensual. Petrarch deals with the incommunicable experience of falling in love with a sensual yet celestial woman: How can I, if you do not teach me, Love/ With mortal words equal divine works?. She encourages the poets love, but with courtly insensitivity. - Francisco de Quevedos Daphne and Apollo - Garcilasos Apollo and Daphne

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