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The painting was one of the "poesie" series painted by Titian for Philip II of Spain.With Diana and Callisto and Diana and Actaeon, both now shared by London and Edinburgh; it was one of three Titian poesie given by Philip V of Spain to the French ambassador, the Duke of Gramont, who in turn presented them to Philippe II, Duke of Orléans, Regent of France from 1715 to 1723.
The work was painted in Rome, with sketch 136 in his Liber Veritatis equating to it. [1] Below that sketch is the inscription "facto al pio Cardinal […] creato pero giusto pap […]" ("made for the pious cardinal […] elected pope […]") - the word "Cardinal" is very close to the edge of the sheet and it seems likely that the name of the commissioner was cut off when binding the scattered ...
If the figure is intended to be Tarquin, the setting must be the night before, with Lucretia perhaps making her plan. The painting depicts Lucretia about to commit suicide to preserve her honour after disclosing her rape by Sextus Tarquinius the previous night, making her the model of Roman female virtus. Her face looks up to the divine ...
The work of art itself is in the public domain for the following reason: Public domain Public domain false false This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer .
The Rape of Europa is a painting commissioned by Władysław IV Vasa from the Italian artist Guido Reni, completed between 1637 and 1639 and showing the abduction of Europa by Zeus in the form of a bull.
The Rape of Europa (Spanish: El rapto de Europa) is a 1772 painting created by Spanish painter and printmaker Francisco José de Goya y Lucientes [5] (1746–1828) depicting Europa's abduction by the Greek god Zeus in the form of a bull. The classical theme from Greek mythology has also been painted by numerous Old Masters.
The Rape of Europa is a 1643 painting by the Flemish painter Jacob Jordaens (1593–1678), now in the palais des Beaux-Arts de Lille. [1] He also produced a more erotic earlier (1615–1616) version, now in the Gemäldegalerie, Berlin .
Most commonly, art depicted either the moment of the rape, or Lucretia is shown alone at the moment of her suicide. [6] In this near life-size late version, which Titian said in a letter of 1568 (three years before it was completed) was "an invention involving greater labour and artifice than anything, perhaps, that I have produced for many years", [7] the drama of the composition is ...