Depth and Symbolism in Mythological Paintings

What is the purpose of Depth and Symbolism in Mythological Paintings?

By Jassica Clarke - Cranfield

Art can often as convey a message, an invitation for deeper insight or metaphorical meaning to be decided by the viewer, and often portray allegory through symbolic articles such as characters, objects, or colour. For this related study I intend to explore the use of depth and symbolism in mythological paintings, with particular reference to Titian’s work for wealthy Patrons, and identify what the purpose of symbolism is in these specific paintings. I will be considering what the symbolic value found in the paintings mean to the narrative of the mythological story and also how it could relate personally to the Patron of the piece.

Mythology in Art: The Renaissance The Renaissance, lasting between the 14th to the 17th century, is also translated as ‘rebirth because of its renewal of classical Greek philosophy, specifically in art. As well as this restoration of classical antiquity, the Renaissance also developed a new way of thinking through Humanism. The renaissance first began in Florence, Italy, at the time when Florence was a Republic. The rise of the dominant Medici family, and the migration of Greek scholars and texts to Italy awoke a new demand for Greek mythology in art. With the works of Ovid, a Roman poet, the imagination of artists and poets were stimulated: mythology became a much anticipated subject among art and literature. (The Editors of Encyclopædia Britannica, 2015) Ovid’s work remains a fundamental inspiration for art, and developed a refined perception of Greek Mythology, lasting through many centuries. Ovid’s best known work was a continuous mythological narrative called ‘Metamorphosis’. It was one of the most influential pieces of literature used by artists during the Renaissance. During the early 14th century, artists painted subjects from Greek mythology, as Ovid poetically described them, as well as the conventional Christian art that had prevailed in the previous International Gothic Period. Among other portrayals of Greek Mythology, one of the first and most famous pieces is Botticelli's ‘The Birth of Venus’.

‘The Birth of Venus’ by Botticelli Sandro Botticelli 1.72 m x 2.78 m Uffizi Gallery Early renaissance 1484–1486 Tempera

The Birth of Venus is possibly the first large-scale canvas created during the Renaissance in Florence. The painting has been celebrated greatly throughout history, and is described as ‘an ideal representation of Renaissance thought and culture.’ (Alston I. 2014) The piece was commissioned by the powerful Medici family and was completed in 1484. Botticelli depicts the mythological narrative of the Classical Roman myth, Venus: the Goddess of love. In this narrative, Venus is born from the ocean and rises from the sea perched on a giant seashell. In Botticelli’s painting, we see Venus noticeably depicted in the centre of the painting as she rises from the sea in a contrapposto-like stance, floating along on a giant seashell, as she rides to the shore. Botticelli has painted with dark lines around the contours of Venus’s body, making it easier to see her body’s form against the intricate background. This also brings out the colour of her milky skin. Botticelli has created Venus in a way that almost gives an illusion that her flesh is made out of marble, this along with her contrapposto pose suggests the sculpture-like nature of her body. To the left, Zephyrus (the west wind) carries the Nymph Chloris, also known as ‘Aura’, and blows a wind to guide the goddess to shore. An array of roses are also scattered with the wind possibly indicating that the rose was born along with Venus. To the right of the painting, on the shore, another Nymph is shown in motion rushing to Venus. Her arms are reaching out to clothe the nude Goddess.

The piece was commissioned by the powerful Medici family and was completed in 1484. Botticelli depicts the mythological narrative of the Classical Roman myth, Venus: the Goddess of love. In this narrative, Venus is born from the ocean and rises from the sea perched on a giant seashell. In Botticelli’s painting, we see Venus noticeably depicted in the centre of the painting as she rises from the sea in a contrapposto-like stance, floating along on a giant seashell, as she rides to the shore. Botticelli has painted with dark lines around the contours of Venus’s body, making it easier to see her body’s form against the intricate background. This also brings out the colour of her milky skin. Botticelli has created Venus in a way that almost gives an illusion that her flesh is made out of marble, this along with her contrapposto pose suggests the sculpture-like nature of her body. To the left, Zephyrus (the west wind) carries the Nymph Chloris, also known as ‘Aura’, and blows a wind to guide the goddess to shore. An array of roses are also scattered with the wind possibly indicating that the rose was born along with Venus. To the right of the painting, on the shore, another Nymph is shown in motion rushing to Venus. Her arms are reaching out to clothe the nude Goddess.

This painting holds a lot of depth and symbolism through Botticelli’s use of allegorical illustrations. Botticelli has pictured Venus entirely naked which would have been insanely radical during the Renaissance, as before this painting the only female nudes seen in art would have been of Eve in Christian paintings. This makes her depiction as nude greatly significant, not only as a radical statement but to the symbolism of the painting. Notice how Venus expresses her nudity in a sensual way, Botticelli has clearly depicted her in an expression of idealistic beauty and perfection. Due to the application of paint, she appears smooth, her skin milky. She stands in that almost- contrapposto pose in a feeble attempt to cover herself up. This is in contrast to paintings of Eve such as in ‘Expulsion from the Garden of Eden’ where we see Eve’s futile attempt to cover her nudity, the desperation and shame evident in her face. There are some Christian interpretations where it is believed that Venus is to represent Eve before the fall, ‘when love was still “pure” and sin did not yet exist”. (Alston I. 2014) Her nudity is symbolic off her chastity and purity, and once she reaches the shore she is to be clothed with sin.

Venus is illustrated here as a beautiful and pure goddess, ultimately a symbol of virginity and beauty, but she is also symbolic of birth and beginning, a suggestion of spring. The abundance of flowers and nature also supports this idea of new life, again referring to Venus’s birth and imagery of spring and love. (Artible, 2017) However, the quantity of floral imagery and nature in the painting could be more of a representation of beauty, and Botticelli trying to convey beauty as something divine, and angelic. He strives to create an intense beauty in this painting, with the application of paint and the flecks of gold in Venus’s hair and the falling leaves. It’s designed to draw the viewer’s attention to alluring portrait of love and beauty. This painting engages the audience, inviting them to witness this scene of harmony and perfection.

(Harris. B, Zucker. S 2017)

Expulsion from the Garden of Eden, Masaccio, 1425, Early renaissance, Christian art

This is one interpretation of the painting, however after exploring the life of the Patron at the time, other aspects of the painting could imply an underlying message. Aside from Venus, the two figures of Zephyrus and Chloris could be symbolically important. The narrative of the two lovers in the painting is that of controversial themes: Chloris was abducted by Zephyrus, but they later married one another. Botticelli was commissioned by Lorenzo di Pierfrancesco de' Medici for ‘The Birth of Venus’, who was arranged to marry the daughter of the Appiani lord Jacopo III of Piombino, Semiramide Appiano, in 1482. The marriage was arranged because of the commercial and political connections the two family’s shared. The young couple share in a similar narrative to that of Zephyrus and Chloris, and perhaps the painting was a symbolic reflection of their marriage. The purpose of this symbolism in the painting is a suggestion that love is powerful, and will prevail.

Venetian Renaissance Venice in the mid-1400 was the most powerful city in Italy. It became rich by almost a thousand years of trading goods with the East. Venice was at the height of its grandeur and glory at this time. However, even after the city’s fortunes began to splinter at the end of the fifteenth century after the fall of Constantinople, the city continued to thrive and maintain its magnificence, especially artistically. Venetian artists established a renowned reputation all over the world. Painters strived to appeal to the eye and senses through the brilliant colours used in their art, and the natural beauty of nature.

Due to long connections with Byzantium, there was left a lingering taste for gold mosaics and iconic picturing's of the Virgin Mary, stolen from the prior period, but artists during the 1470’s had a new palate inspired by the radical painters of the Renaissance in Florence. Venetian painters had easy access to the finest and most expensive pigments, allowing them to experiment and express a new application of colour when painting. Venice also had contacts with northern Europe, which introduced them to oil painting, before this tempera had been the common medium.

(National Gallery of Art, 2017) Before this renewal of classical antiquity in the 15thcentury, Christian art dominated history during the International Gothic period. Colour was important in creating these Religious pieces, specifically, the colour Ultramarine was considered extremely important mostly because of its high price. Due to its extreme cost and difficulty to obtain, the colour was considered ‘holy’ and used only for depicting the Virgin Mary.

However, during the Renaissance with this new emergence of mythological art, artists would use the rich colours and ultramarine to colour the sky and various other parts of their paintings.

The Wilton diptych; right-hand panel c. 1395–99; each panel is 53 x 37 cm

Rogier van der Weyden. The Descent from the Cross. (c. 1435) Oil on oak panel, 220 x 262 cm Museo del Prado, Madrid

Giovanni Bellini, San Zaccaria Altarpiece, 1505

‘Bacchus and Ariadne’ by Titian Titian is often celebrated as one of the greatest Venetian artists of the 16th century, credited especially to his brilliant use of colour. This painting, ‘Bacchus and Ariadne’, really exhibits what we remember and celebrate Venice for, the outstanding use of colour, and the purity of colour. Unlike the paler application of Tempera, oil paint allowed for artists to produce deep, rich tones. Alfonso I d’Este, the Duke of Ferrara, heard of Titian’s painting abilities and commissioned him to create a series of mythological compositions for the rooms in the castle at Ferrara. (Harris B., Zucker S. 2017)

Titian 1.75 m x 1.9 m 1520–1523 History painting Italian Renaissance, High Renaissance, Renaissance, Venetian school Paint, Oil paint, Canvas

This painting shows the moment in which Bacchus and Ariadne first meet. Ariadne stands at the left of the canvas, her back to the audience as she waves off her lover, Theseus, who left her stranded here on the Greek island of Naxos. Her attention is interrupted by Bacchus, the God of wine, who is bounding towards her, leaping of his chariot to reach her as if struck suddenly by his love for her and her beauty.

Behind him a crowd follows in all their noise and excitement. The use of colouring here, the warm and rich palette, really adjusts the balance in the image. It brings together Titian’s intentional asymmetrical grouping of the figures, and although they are all part of the scene, as well as the lush landscape, the attention of the viewer is fixed on this dramatic momentary connection between Bacchus and Ariadne.

When analysing this painting, it is to be noted that the painting tells a story and actually unravels this story, so to what the viewer is seeing is a series of smaller revelations. By looking further into the painting and cropping it down, we are able to become enlightened to Titians powerful use of imagery and symbolism in the piece.

t the very left of the canvas above Ariadne’s shoulder, the boat in which Theseus sails away from her can be seen in the distance.

This begins the story as it starts with Theseus abandoning Ariadne on the island.

Ariadne’s pose is extremely complicated in the painting, we see her body in the motion of staring after the boat but suddenly turned towards Bacchus’s attention.

Bacchus, as he leaps from his chariot towards Ariadne, can be recognised by the garland of laurel and grape leaves in his hair. He is immediately identified as the God of wine and intoxication.

(Benford S. 2014) As he leaps from the cart, his clothing flies behind him, almost like a cape. Titian’s added this detail perhaps to view Bacchus as a hero, his heroic action of saving Ariadne from her heartbreak. The crimson colour of his cape also suggests this air of romance and also brings back imagery of wine and connotations of love.

‘Laocoon and His Sons’ Lomonosov, g. SanktPeterburg, Russia, 198412 Vatican Museums White marble

The whole right side of the canvas is taken up by the crowd that appear to be following Bacchus. It is evident that they are bursting through the scene, in drunken celebration. Notice the severed animal parts about the crowd, this is all symbolic of their drunken state. The figures all seem to take on poses from Classical sculptures, the figure in the front who appears to be wrapped in snakes bears great resemblance to Laocoon in the Greek sculpture ‘Laocoon and His Sons’. This reference could suggest that the Duke of Ferrara commissioned the piece to show off his connection to Classical Antiquity, and flaunt his Classical status.

The constellation, Corona Borealis (the Northern Crown), can be seen in the painting directly above Ariadne. This is the constellation which Bacchus gave Ariadne as a wedding gift.

Some believe that Ariadne, herself, was actually turned into this constellation, so by placing it directly above her head could be a symbol of her fate to come. (The National Gallery, 2017)

Colour is extremely important in Titian’s work, here we can see his use of colour and how it effects the mood and drama of the painting. The two figures are the focus of the painting, Bacchus leaping in mid-air takes up the whole canvas, and is the first thing the viewer sees. The painting is ultimately crowded, and yet, Titian manages to direct all focus and drama to the two figures of Bacchus and Ariadne. This can largely be credited to his positioning of figures, structure of the overall canvas, and the dynamic poses of the main characters. However, not only these technical variables should be considered, colour plays a massive role in translating the narrative to the audience. Not only does it divide and situate the adjoining scenes of Bacchus and Ariadne but illuminates their intentions.

(Wethey H. 2010) The blue drapery of Ariadne is in opposite to Bacchus’s flying crimson cape, but these are also complementary colours, which harmonise perfectly together as if in suggestion of their romantic compatibility. Notice, also, how Ariadne is situated in, what can be considered, a whole different world to Bacchus. She is placed at the left of the canvas, where the blue colouring of the sea and sky act as her background, her clothes matching that colour. The use of the blue and placing Ariadne in this blue world, suggests Titian’s attempt to convey her importance as a figure in the narrative because, as we know that blue was previously only used to depict the Virgin Mary. The small red scarf that circles her body could give suggestion to her connection with Bacchus, the colour matching with his cape. Whilst Ariadne derives on this side of the canvas, Bacchus is situated amongst the verdant landscape, his palette consists of reds, greens, and browns; the rich colours of nature. This could symbolise his passion, his liveliness. The richness of colour on Bacchus’s side of the canvas, and the abundance of nature amongst the ‘partying’ crowd of figures overall just accentuates the energy and intense enthusiasm of Bacchus’s mood.

As Bacchus and Ariadne join in the painting, their bodies seem to twist in an identical turn in opposite directions. Notice that the Cheetah’s between them seem to mimic this symmetry by twisting their heads to one another. (Artecompo 2015) This piece was commissioned for the Duke of Ferrara’s Alabaster Chamber. Apparently all the paintings that were displayed in the Alabaster Chamber portrayed themes of love. The representation of love is really quite achieved in this painting through symbolism. The purpose of this symbolism is largely present to increase the drama of the narrative. The amount of detail Titian has depicted in this painting, the way it reads like a revelation of events through these individual characters and symbols, enhances the passionate and intense emotion of the mythology. The use of colour and positioning of figures also strengthens the themes of drama, and romance. It is important to take into consideration how the scene in which the figures have been placed, echoes or changes their personal, emotional state and how this generates the mood for the whole painting. As Philip S. Rawson says in his book ‘Art and Time’, ‘images of humans acting out feelings can serve as symbols for inner states, which their environments can reinforce.’ (Rawson S. 2005) In this painting we experience, as the viewer, the purpose of the symbolism in this piece, which is really to make sense off and give insight to the narrative of the myth and the mix of emotions being presented to us.

I am now going to look at a much darker painting by Titian, and evaluate how the symbolism is different to the previous painting and how its purpose is changed by use of darker connotations.

‘Diana and Actaeon’ by Titian Titian 1.85 m x 2.02 m 1556–1559 Scottish National Gallery (since 1945), National Gallery, London Paint, Oil paint, Canvas

Titian painted ‘Diana and Actaeon’ as part of a series of paintings created for King Philip II of Spain during 1549–62. The mythological story of ‘Diana and Actaeon’ as narrated

by Ovid in ‘Metamorphoses’ book three, follows the young noble hunter, Actaeon, as he accidentally stumbles upon Diana bathing in her sacred grotto. Diana is the chaste, virgin Goddess of the hunt, and is depicted here among her nymphs who are all exposed in their entirety. We glimpse them in a moment of desperation, as they try to Titian cover up their nudity. Titian’s portrayal of Actaeon is also intriguing and really expresses 1.85 m x 2.02 m the haplessness and terrible error he has committed. We see the shock on his face, and 1556–1559 his arms raised dramatically in sudden understanding of what he has accidentally Scottish Nationalstumbled Gallery (since Gallery, London upon.1945), The National story concludes with Diana transforming Actaeon into a stag, Paint, Oil paint, Canvas whom is then murdered by his own hounds. Titian manages, in this painting, to tell the tale so entirely. This is partly due to the exchange between the figures, the regretful pose of Actaeon, and the ‘death stare’ Diana gives him across the canvas. This is often true of Titian’s mythological paintings, as we witnessed in the previous painting ‘Bacchus and Ariadne’, their composure alone was enough to convey the intense emotion of the whole narrative, but not only does Titian convey this power in his painting but also the quantity of illustrated symbols hidden in the composition. In this painting there are multiple hints and omens anticipating Actaeon’s cruel fate. (The National Gallery 2017)

A stag skull is situated at the right of the canvas, atop a pile of stone pillars peers out at the audience. The skull itself suggests symbolism of death, but the fact that it’s a stag skull indicates a much darker related specifically to Diana. It stands for Actaeon’s demise foretold, it sits like a trophy atop the pillar, a symbol and recognition of Diana’s previous kill.

The fact that it’s displayed so openly, suggests that it’s there as a warning, an ominous reminder of what Diana’s wrath is capable of.

Similarly, strung up in the trees above Diana, are the skins of her victims. You can make out, at the very edge of the canvas, the draped figure of a deer or stag, its head and body flung over a tree branch. This also gives indication to Actaeon’s fatal death to come and reveals Diana’s sinister and gruesome powers.

The two dogs in the painting give suggestion of what is next to happen in the narrative. Diana’s lapdog is positioned in an angered growl, a reflection of her soon-to-be state as she proceeds her revenge on Actaeon. We also see Actaeon’s hound, so obediently at his side, the cruel revelation to the audience that this hound will soon assist in the demise of his beloved master. smaller detail in the painting is that of the scene happening in the background. If you zoom in behind the copse of trees to the landscape behind the grotto, two figures can be seen. They appear to be Diana, now clothed, chasing ruthlessly after a stag, most definitely Actaeon now completely transformed. Again, this is another hint at his unfortunate ending, and a representation of Diana’s rage and ruthlessness toward her victims. It’s also a glimpse at Titian’s next painting, ‘The Death of Actaeon.’

The Death of Actaeon Titian 1.78 m x 1.98 m National Gallery London 1559–1575 Paint, Oil paint, Canvas

John Steer describes this flicker of imagery in the background as ‘the tension of the scene’ as if that small hidden article is where the viewer connects the dots, a realisation has been reached and we now have full knowledge of how doomed Actaeon is. Steer also suggests that the way Titian has painted this piece ‘is full of anguish and conflict, and yet, through Titian’s handling of colour and paint, it has a passionate visual beauty which gives it another dimension.’ (Steer J. 2003) The purpose of this prophetic imagery in this painting is to build up the mood and atmosphere of the scene. The symbolism in this painting suggests such dark themes and motive, because that is exactly what the myth narrates, and it is exactly what Titian was striving to portray in the painting. Titian has managed, through symbolic objects, and the expressions of all the characters, to create such a haunting, chilling mood. Steer explains how ‘[titian] was able to face all the anguish and suffering of human existence.” (Steer J. 2003) Furthermore, the purpose of the symbolism in this piece is to fully translate the wicked and grim tone of the narrative and the utter doom and catastrophe of the situation.

In this essay I have analysed the symbolism depicted in mythological paintings and evaluated what purpose it could serve by looking into three different paintings from the Renaissance Period. I have thought about how the artwork could relate to the Patron and the Artist and how this could affect the meaning of the painting and its symbolism. I found that mythological paintings mostly exhibit symbolism and allegorical meaning to explain or translate the narrative, but they can also use character or objects to signify something much more profound and only understandable with contextual knowledge of the Patron. In conclusion, the purpose of symbolism in mythological paintings is to enhance or intensify the mood and atmosphere, allow the viewer prophetic insight into the story or specific characters, and increase the emotional value of the overall painting.

Bibliography/References: The Editors of EncyclopĂŚdia Britannica (2015) Renaissance EUROPEAN HISTORY. [online] Available from: https://www.britannica.com/event/Renaissance updated on: 4-172015 Alston, I. (2014) Boticelli, page 12 Alston, I. (2014) Boticelli, page 13 (Artable (2017) Birth of Venus [online] Available from: http://www.artble.com/artists/sandro_botticelli/paintings/birth_of_venus) Updated on: 2017 Harris B., Zucker S. (2017) Botticelli, Birth of Venus [online] Available from: https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonialamericas/renaissance-art-europe-ap/v/botticelli-the-birth-of-venus-1483-85 Updated on: 2017 National Gallery of Art (2017) Venetian Painting in the Early Renaissance [online] Available from: http://www.nga.gov/content/ngaweb/features/slideshows/venetian-painting-in-the-earlyrenaissance.html#slide_1 Updated on: 2017 Harris B., Zucker S. (2017) Titian, Bacchus and Ariadne [online] Available from: https://www.khanacademy.org/humanities/renaissance-reformation/renaissance-venice/laterenaissance-venice/v/titian-bacchus-and-ariadne-1523-24 Updated on: 2017 Benford S. (2014) Famous Paintings: Bacchus and Ariadne [online] Available from: http://www.themasterpiececards.com/famous-paintings-reviewed/bid/28711/Famous-PaintingsBacchus-and-Ariadne Updated on: 2014 The National Gallery (2017) Titian Bacchus and Ariadne [online] Available from: https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne Updated on: 2017 Artecompo (2015) Bacchus and Ariadne [online] Available from: http://www.artecompo.com/index.php?pag=tiziano1 Updated on: 2015 Rawson, S. (2005) Art and Time, page 40 The National Gallery (2017) Titian Diana and Actaeon [online] Available from: https://www.nationalgallery.org.uk/paintings/titian-diana-and-actaeon Updated on: 2017 Steer, J. (2003) Venetian Painting, page 140

Steer, J. (2003) Venetian Painting, page 141