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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 ...
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.
Apollo and Daphne is a life-sized Baroque marble sculpture by the Italian artist Gian Lorenzo Bernini, created between 1622 and 1625. Housed in the Galleria Borghese in Rome as part of the Borghese Collection, the work depicts the climax of the story of Apollo and Daphne in Ovid's Metamorphoses. Apollo clutches Daphne's hip, pursuing her as she ...
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
The sculpture, the first in a series of major Borghese works including the David and the Apollo and Daphne, was finished in 1622 and delivered to the Villa Borghese, whose main facade already had the myth of Proserpina depicted. [5] Bernini received at least three payments for its creation, of the value of at least 450 Roman scudi. [3]
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 ...
The subject's starting point is Ovid's Metamorphoses 1.488–611, which tells the story of how the god Apollo became infatuated with the naiad Daphne and how she was transformed into a laurel tree. [8] The poet addresses Daphne and asks if she remembers a love song that continuously begins to play among trees and bushes.
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.