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Ariadne was a Cretan princess, half-sister of the Minotaur, who had eloped with Theseus after he had killed the Minotaur. Theseus subsequently abandoned her on the island of Naxos where she was discovered by Bacchus. Bacchus and Ariadne were married and Ariadne elevated to join the gods, immortalised as the constellation Corona Borealis.
Ariadne bore Dionysus famous children, including Oenopion, Staphylus, and Thoas. Dionysus set her wedding diadem in the heavens as the constellation Corona Borealis. Ariadne was faithful to Dionysus. In one version of her myth, Perseus killed her at Argos by turning her to stone with the head of Medusa during Perseus' war with Dionysus. [22]
Bacchus and Ariadne (1522–1523) [1] is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara , for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts.
This image of Dionysus is true in KAOS, where Nabhaan Rizwan plays him as a character who is desperately seeking the approval of his father and a deeper purpose after Hera calls him a "lightweight."
Pages in category "Children of Dionysus" The following 24 pages are in this category, out of 24 total. This list may not reflect recent changes. C.
Images of the Virgin and Child were for centuries the most common subject for Christian religious art. There are many thousands of surviving historical images. The following is a list (probably incomplete) of those with articles, listed by their usual type of title (although other title forms may be found).
Ariadne Abandoned by Theseus, Discovered by Bacchus (Bacchus and Ariadne) (1794), 246 cm x 165 cm, oil on canvas. Angelica painted this subject another time before 1782. Titled Ariadne von Theseus verlassen (Ariadne Left by Theseus), the composition of this painting is different, yet there are many similar elements. Ariadne is show in a more ...
The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus (1518–1519) and Bacchus and Ariadne (1520–1523) and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.