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Apollo and Daphne is an Ancient Greek transformation or metamorphosis myth. No written or artistic versions survive from ancient Greek mythology, so it is likely Hellenistic in origin. [ 1 ] It was retold by Roman authors in the form of an amorous vignette.
Apollo and Daphne is a life-sized marble sculpture by the Italian artist Gian Lorenzo Bernini, which was executed between 1622 and 1625. It is regarded as one of the artistic marvels of the Baroque age. The statue is housed in the Galleria Borghese in Rome, along with several other examples of the artist's most important early works.
Apollo and Daphne, a marble sculpture made 1622–1625 by Bernini (1598–1680), inspired by Ovid's Metamorphoses, Galleria Borghese, Rome.Depicting the initial stage of Daphne's transformation, with her fingers shown as branches of laurel and her toes taking root into the ground
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 has been recognized as a god of archery, music and dance, truth and prophecy, healing and diseases, the Sunand light, poetry, and more. One of the most important and complex of the Greek gods, he is the son of Zeusand Leto, and the twin brother of Artemis, goddess of the hunt.
Apollo and Daphne is a c.1470–1480 oil on panel painting, attributed to Piero del Pollaiuolo and/or his brother Antonio). William Coningham acquired it in Rome in 1845 and in 1876 Wynne Ellis left it to the National Gallery, London, where it still hangs. [1] It shows Daphne's transformation into a laurel tree to escape Apollo in Ovid's ...
Apollo and Daphne (c. 1470–1480) by Antonio del Pollaiuolo depicts one tale of transformation in the Metamorphoses—Apollo lusts after Daphne, but she is changed into a bay laurel and escapes him. The different genres and divisions in the narrative allow the Metamorphoses to display a wide range of themes. Scholar Stephen M. Wheeler notes ...
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]