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The Minotaur, oil on canvas, 188.1 cm × 94.5 cm (74.1 in × 37.2 in), Tate Britain. The Minotaur is an 1885 painting by the English painter George Frederic Watts.It depicts the Minotaur from Greek mythology as he waits for his young sacrificial victims to arrive by ship.
The Minotaur by George Frederic Watts, 1885. In the epilogue to his 1949 short-story collection The Aleph, Borges wrote that the inspiration for "The House of Asterion" and the "character of its sad protagonist" was The Minotaur, a painting completed in 1885 by English artist George Frederic Watts. [3]
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In Greek mythology, the Minotaur [b] (Ancient Greek: Μινώταυρος, Mīnṓtauros), also known as Asterion, is a mythical creature portrayed during classical antiquity with the head and tail of a bull and the body of a man [4] (p 34) or, as described by Roman poet Ovid, a being "part man and part bull".
Charles Henri Ford (February 10, 1908 – September 27, 2002) was an American poet, novelist, diarist, filmmaker, photographer, and collage artist. He published more than a dozen collections of poetry, exhibited his artwork in Europe and the United States, edited the Surrealist magazine View (1940–1947) in New York City, and directed an experimental film.
Hollywood was born in 1966 in Wallasey, [2] [3] Cheshire, [a] the son of bakery proprietor John F. Hollywood and Gillian M. Hollywood (née Harman). [4] He was a pupil at The Mosslands School . Hollywood studied sculpture at the Wallasey School of Art based at Liscard Hall , [ 5 ] but left to start work as a baker.
Lycastus had a son named Minos, after his grandfather, born by Lycastus' wife, Ida, daughter of Corybas. "Minos II"—the "bad" king Minos—is the son of this Lycastus, and was a far more colorful character than his father and grandfather. This is the Minos in the myths of Theseus, Pasiphaë, the Minotaur, Daedalus, Glaucus, and Nisus.
An image of the Minotaur or an allusion to the legend of the Minotaur appears at the center of many of these mosaic labyrinths. The four-axis pattern as executed in Chartres Cathedral (early 1200s) The four-axis medieval patterns may have developed from the Roman model, but are more varied in how the four quadrants of the design are traced out.