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Meret Oppenheim's Daphne and Apollo (1943, Lukas Moeschelin collection, Basel) has both Daphne and Apollo undergoing a metamorphosis, which reflects the artist's interest in androgyny. [1] Milet Andrejevic, a Yugoslavian immigrant to the U.S., set his Apollo and Daphne (1969, Rhode Island School of Design Museum, Providence) in New York's ...
Apollo e Dafne (Apollo and Daphne, HWV 122) is a secular cantata composed by George Frideric Handel in 1709–10. Handel began composing the work in Venice in 1709 and completed it in Hanover after arriving in 1710 to take up his appointment as Kapellmeister to the Elector , the later King George I of Great Britain . [ 1 ]
Apollo and Daphne is a transformation myth of Hellenistic origin. Apollo and Daphne may also refer to: Apollo and Daphne, a 1622–1625 sculpture by Gian Lorenzo Bernini; Apollo e Dafne, a 1709–1710 cantata composed by George Frideric Handel; Apollo and Daphne, a 1661–1664 oil-on-canvas painting by Nicolas Poussin
Lycoris assures Apollo that Daphne's abandonment of the wedding was a signal that she favours him. Lycoris also steals Daphne's cloak and, wearing it as a disguise, makes advances to Damon, having first ensured that Florindo overhears. Florindo is enraged by what he believes is Daphne's duplicity, and denounces her. Damon confirms the story.
Die Dafne (1627) is an opera. Its libretto was written by Martin Opitz (which survives) and its music was composed by Heinrich Schütz (which is lost). It has traditionally been regarded as the first German opera, though it has also been proposed more recently that it was in fact a spoken drama with inserted song and ballet numbers.
Cupid and Venus are unimpressed by Apollo's boasting and about his conquest and his feelings of being invincible. Because of this, they plot revenge on Apollo. Cupid shoots two arrows, the first of which makes Apollo fall in love with the nymph Daphne, daughter of the river god. The second arrow causes the object of his desire to flee from him.
The poem’s 4th stanza continues to identify the garden with a retreat from sexuality. It includes allusions to the myths of Apollo and Daphne and Pan and Syrinx from Ovid’s Metamorphoses, stories that both describe a nymph’s escape from threatened rape through transforming into a plant. The speaker claims that "Apollo hunted Daphne so ...
Much of the early work on Apollo and Daphne was done in 1622–23, but Bernini's work on his sculpture of David (1623-24) interrupted its completion. Bernini finished Apollo and Daphne in 1625, [3] and it was moved to the Cardinal's Villa Borghese in September of that year. [4] Bernini did not execute the sculpture entirely by his own hand.