Mythology: Roman

Showing posts with label Roman. Show all posts

01 Work, Interpretations of Olympian deities, August Groh's Diana hunting, with footnotes #40

GROH, A.(1871 Neckarsteinach - 1944 ebd.)

Diana hunting, c. 1898

Oil on canvas

Private collection

Sold for 5500.00 € in March 2023

The goddess with her entourage hunting a deer that flees into the water on a rocky cliff!

Diana is a goddess in Roman and Hellenistic religion, primarily considered a patroness of the countryside, hunters, crossroads, and the Moon. She is equated with the Greek goddess Artemis, and absorbed much of Artemis' mythology early in Roman history, including a birth on the island of Delos to parents Jupiter and Latona, and a twin brother, Apollo, though she had an independent origin in Italy.

Diana was originally considered to be a goddess of the wilderness and of the hunt, a central sport in both Roman and Greek culture.] Early Roman inscriptions to Diana celebrated her primarily as a huntress and patron of hunters. More on Diana

August Groh (born February 23 , 1871 in Neckarsteinach ; died there in 1944 ) was a German painter . He was a professor at the Karlsruhe School of Applied Arts and the Baden State School of Art .

Groh studied from 1888 to 1900 at the Academy in Karlsruhe with Gustav Schönleber. He was a professor at the Kunstgewerbeschule in Karlsruhe and in 1920 was accepted at the Landeskunstschule as a professor for figure drawing . Also active as a book illustrator , for example in 1898 for the German first edition of Kipling's Jungle Book. He was a member of the senate of the Karlsruhe Art Academy. Until 1924 he taught monumental painting and poster art. On May 1, 1924, he was retired and his class was disbanded due to austerity measures. He then worked as a freelance artist. More on August Groh

A private collection is a privately owned collection of works (usually artworks) or valuable items. In a museum or art gallery context, the term signifies that a certain work is not owned by that institution, but is on loan from an individual or organization, either for temporary exhibition or for the long term. This source is usually an art collector, although it could also be a school, church, bank, or some other company or organization. More on Private collection

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02 Works, Interpretations of Olympian deities, Sir Edward Poynter's Two Visits to Aesculapius, with footnotes #39

John William Waterhouse (1849–1917)

A Sick Child brought into the Temple of Aesculapius, c. 1877

Oil on canvas

height: 170 cm; width: 208 cm

Private collection

The artwork depicts a scene set in the grand temple of Aesculapius, the Greek god of medicine. Central to the painting is a mother bringing her sick child to the temple in hopes of divine intervention. The mother, garbed in classical attire, is holding her child while being observed by a figure who appears to be a temple priest, performing a ritualistic gesture. Surrounding them are additional figures, including a young boy and a kneeling woman, contributing to the solemn and reverent atmosphere of the scene. The temple’s architecture is characterized by grand columns, statues, and decorative elements, adding to the authenticity and gravitas of the setting. The rich details and emotive expressions capture the essence of hope and supplication inherent in the mythological narrative. More on this painting

John William Waterhouse (April 6, 1849 – February 10, 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading to his sobriquet "the modern Pre-Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before. More on John William Waterhouse

Sir Edward Poynter 1836–1919

A Visit to Aesculapius, c. 1880

Oil paint on canvas

1511 × 2286 mm

Tate

Aesculapius was the Greek god of healing and medicine, and is symbolised by a snake curled around a staff. In a scene taken from a poem by the Elizabethan Thomas Watson. Poynter shows him being consulted by Venus who has a thorn in her foot. Venus is identified by the doves, which are her attributes, and she is accompanied by her handmaidens, the three Graces, who are the personification of grace and beauty. Poynter posed them in the traditional Classical manner, with two of the Graces facing the viewer, while one turns her back. The resulting frieze of figures creates a subtle and elegant rhythm across the composition. More on this painting

Sir Edward John Poynter, 1st Baronet GCVO, PRA (20 March 1836 – 26 July 1919) was an English painter, designer, and draughtsman, who served as President of the Royal Academy.

Poynter was the son of architect Ambrose Poynter. He was born in Paris, France, though his parents returned to Britain soon after his birth. He was educated at Brighton College and Ipswich School, but left school early for reasons of ill health, spending winters in Madeira and Rome. In 1853, he met Frederick Leighton in Rome, who made a great impression on the 17-year-old Poynter. On his return to London he studied at Leigh's Academy in Newman Street and the Royal Academy Schools, before going to Paris to study in the studio of the classicist painter Charles Gleyre where James McNeill Whistler and George du Maurier were fellow-students.

Poynter held a number of official posts: he was the first Slade Professor at University College London from 1871 to 1875, principal of the National Art Training School from 1875 to 1881 and director of the National Gallery from 1894 to 1904. He became a full Royal Academician in 1876. In 1896, on the death of Sir John Millais, Poynter was elected President of the Academy. He received a knighthood in the same year and an honorary degree from Cambridge University in 1898. It was announced that he would receive a baronetcy in the 1902 Coronation Honours list published on 26 June 1902 for the (subsequently postponed) coronation of King Edward VII, and on 24 July 1902 he was created a Baronet, of Albert Gate, in the city of Westminster, in the county of London.

Poynter's old school, Brighton College, held an exhibition of Poynter's paintings and drawings entitled Life at Arms Length in its Burstow Gallery in November–December 1995.. More on Sir Edward John Poynter

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01 Work, Interpretations of Olympian deities, Jacob de Backer's Paris Being Admitted to the Bedchamber of Helen, with footnotes #38

Jacob de Backer (Flemish, active 1545–1600)

Detail; Paris Being Admitted to the Bedchamber of Helen, c. about 1585/1590

Oil on canvas

119.4 × 171.5 cm (47 × 67 1/2 in.)

J. Paul Getty Museum

Paris is a mythological figure in the story of the Trojan War. He appears in numerous Greek legends and works of Ancient Greek literature such as the Iliad. In myth, he is prince of Troy, son of King Priam and Queen Hecuba, and younger brother of Prince Hector. His elopement with Helen sparks the Trojan War, during which he fatally wounds Achilles. More on Paris

Jacob de Backer (Flemish, active 1545–1600)

Paris Being Admitted to the Bedchamber of Helen, c. about 1585/1590

Oil on canvas

119.4 × 171.5 cm (47 × 67 1/2 in.)

J. Paul Getty Museum

Helen was the daughter of Zeus and Leda, and considered in Greek myth to be the most beautiful woman in the world. She was married to Menelaus, King of Sparta. When the Trojan prince Paris abducted Helen and carried her off to the city of Troy, the Greeks responded by mounting an attack on the city, thus beginning the Trojan War. Agamemnon, king of Mycenae and the brother of Menelaus, led an expedition of Greek troops to Troy and besieged the city for ten years because of Paris's insult. After the deaths of many heroes, including the Greeks Achilles and Ajax, and the Trojans Hector and Paris, the city fell to the ruse of the Trojan Horse. The Greeks slaughtered the Trojans and desecrated the temples More on Helen

Jacob de Backer (c. 1555 – c. 1591) was a Flemish Mannerist painter and draughtsman active in Antwerp between about 1571 and 1585. Even though he died young at the age of 30, the artist was very prolific and an extensive body of work has been attributed to him. Art historians are not agreed on how many of these works are autograph or the product of a workshop. The works attributed to the artist or his workshop are executed in a late-Mannerist style clearly influenced by Italian models. More on Jacob de Backer

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01 Painting, Olympian deities, Wilhelm Kray's Eros ferrying lovers to Cythera, with footnotes # 50

Wilhelm Kray, (Berlin 1828–1889 Munich)

Eros ferrying lovers to Cythera

Watercolour on paper

30 x 53 cm

Private collection

Sold for GBP 6,875 in Jan 2008

In Greek mythology, Eros is the god of lust and love. In the present work, lovers are being taken to Cythera, the celestial island of Aphrodite.

Wilhelm Kray ( December 29, 1828 in Berlin – July 29, 1889 in Munich ) was a German portrait , genre and landscape painter and illustrator .

Kray worked as a goldsmith before 1848 . From 1848 he studied at the Royal Prussian Academy of Arts in Berlin with Julius Schrader , Wilhelm Schirmer and Hermann Stilke . Between 1856 and 1872 he took part in the Berlin Academy exhibitions. In 1859/60 he was in Paris and visited the studio of Alexandre Cabanel and Paul Baudry . He then went back to Berlin, where he mainly worked as a portraitist. From 1867 to 1871 Kray was based in Rome. From there he made numerous trips to Naples. He became a member of the Deutscher Künstlerverein. From 1878 he lived inVienna and took part in the international art exhibitions in the Munich Glass Palace from 1879 to 1888 . More on Wilhelm Kray

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06 Photographs, Contemporary Interpretations of Olympian deities, Steven Irwin's Venus, Ceres, Persephone and Tellus, the Earth Goddesses, with footnotes #34

Steven Irwin

Land of Venus I

Giclée on Paper

20 W x 20 H x 0.1 D in

Private collection

Steven Irwin

Land of Venus II

Giclée on Paper

20 W x 20 H x 0.1 D in

Private collection

Steven Irwin

Land of Venus III

Giclée on Paper

20 W x 20 H x 0.1 D in

Private collection

Venus is a Roman goddess, whose functions encompass love, beauty, desire, sex, fertility, prosperity, and victory. In Roman mythology, she was the ancestor of the Roman people through her son, Aeneas, who survived the fall of Troy and fled to Italy. Julius Caesar claimed her as his ancestor. Venus was central to many religious festivals, and was revered in Roman religion under numerous cult titles.

The Romans adapted the myths and iconography of her Greek counterpart Aphrodite for Roman art and Latin literature. In the later classical tradition of the West, Venus became one of the most widely referenced deities of Greco-Roman mythology as the embodiment of love and sexuality. She is usually depicted nude in paintings. More on Venus

Steven Irwin, United Kingdom

Ceres

Giclee on Paper

18 W x 24 H x 0.1 D in

Private collection

In ancient Roman religion, Ceres was a goddess of agriculture, grain crops, fertility and motherly relationships. She was originally the central deity in Rome's so-called plebeian or Aventine Triad, then was paired with her daughter Proserpina in what Romans described as "the Greek rites of Ceres". Her seven-day April festival of Cerealia included the popular Ludi Ceriales (Ceres' games). She was also honoured in the May lustratio of the fields at the Ambarvalia festival, at harvest-time, and during Roman marriages and funeral rites. She is usually depicted as a mature woman.

Ceres is the only one of Rome's many agricultural deities to be listed among the Dii Consentes, Rome's equivalent to the Twelve Olympians of Greek mythology. The Romans saw her as the counterpart of the Greek goddess Demeter, whose mythology was reinterpreted for Ceres in Roman art and literature. More on Ceres

Steven Irwin

Persephone

Giclee on Paper

14 W x 14 H x 0.1 D in

Private collection

In ancient Greek mythology and religion, Persephone is the daughter of Zeus and Demeter. She became the queen of the underworld after her abduction by and marriage to her uncle Hades, the king of the underworld.

The myth of her abduction, her sojourn in the underworld, and her temporary return to the surface represents her functions as the embodiment of spring and the personification of vegetation, especially grain crops, which disappear into the earth when sown, sprout from the earth in spring, and are harvested when fully grown. In Classical Greek art, Persephone is invariably portrayed robed, often carrying a sheaf of grain. She may appear as a mystical divinity with a sceptre and a little box, but she was mostly represented in the process of being carried off by Hades. More on Persephone

Steven Irwin

Tellus

Giclee on Paper

18 W x 24 H x 0.1 D in

Private collection

The Italian deity of mother-earth, often called tellus mater. She was invoked during earthquakes. She was also invoked in solemn oaths as the common grave of all things, together with the Manes and with Jupiter, the god of heaven. Like the Greek Demeter, she was also the goddess of marriage, but was most revered in conjunction with Ceres as goddess of fruitfulness. Thus in her honour were held the festival of the sowing, celebrated in January at the end of the winter seed time, fixed by the pontifex to be held on two consecutive market days. The paganalia were celebrated at the same time in the country, when a pregnant sow was sacrificed to Tellus and Ceres. Besides these, there was the feast of fordicidia or hordicidia, at which cows in calf were sacrificed to her. This was held on the 15th of April to insure plenty during the year, and was celebrated under the management of the pontifices and the Vestal Virgins. The ashes of the unborn calves were kept by the Vestal Virgins till the feast of the Parilia, when they were used for the purpose of purification. More on Tellus

Steven Irwin is an award winning film maker and photographer. He's traveled the world in search of modern urbanscapes, iconic architecture and unusual landscapes.

His work explores the tension and coexistence of nature and the man made.

Photographic images are layered and juxtaposed to stage surreal, cinematic scenes rich in possibilities of interpretation: dream-like, elegiac, contemplative.

Steven's art practice consists of a rigorous exploration of cityscapes, urban landscapes and the fusion of human form and natural environments.

His work often references the early 17th century Vanitas compositions that consist of decaying objects, symbolic of the inevitability of death and the transience and vanity of earthly achievements. As well as customary Vanitas motifs, Steven depicts objects that have rusted - a contemporary representation of decay and mortality.

His skylines and iconic architecture have been modified and arranged to create abstracted scenes which consider the evolution of urban spaces.

Steven's work explores the effects of climate change on large city conurbations and depicts the decline of modern civilisation.

Curator Adriana Marques at Rise Art:

"Irwin's take on our dense urbanscapes remind us that even bricks and mortar don't last forever. These layered works test the boundaries of photography and bring a sense of organic vitality back to our cities. "

The artist uses both analogue and digital techniques, from scratched negatives and chemical staining to digital layering and blending, each created to form a unique and stylised image. More on Steven Irwin

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01 Work, Olympian deities, Tiziano Vecellio, called Titian's Venus and Adonis, With Footnotes - #136

Tiziano Vecellio, called Titian, and workshop, Pieve di Cadore circa 1485/90–1576 Venice

Venus and Adonis

Oil on canvas

177.2 x 199.2 cm.; 69 3/4 x 78 3/8 in.

Private collection

Sold for 11,164,000 GBP in December 2022

Venus, as if filled with foreboding about Adonis’s fate, desperately clings to her lover, while he pulls himself free of her embrace, impatient for the hunt and with his hounds straining at the leash. The goddess’s gesture is echoed by that of Cupid, who anxiously watches the lovers’ leave-taking while clutching a dove—a creature sacred to Venus.

Titian’s scene was inspired by the account in Ovid’s Metamorphoses of the goddess Venus’s love for the beautiful young huntsman Adonis, who was tragically killed by a wild boar. Though Ovid did not describe the last parting of the lovers, Titian’s imagining of it introduced a powerful element of dramatic tension into the story.

Venus and Adonis was one of the most successful designs of Titian’s later career. At least 30 versions are known to have been executed by the painter and his workshop, as well as independently by assistants and copyists within the painter’s lifetime and immediately afterward, and the evolution of the composition over the years was highly complex. For stylistic reasons, the Gallery’s version is believed to date from the 1560s. However, technical examination of the underlying paint layers has revealed changes to the composition that suggest the painting may have been begun as early as the 1540s. More on this painting

Tiziano Vecelli or Tiziano Vecellio, or Titian (1488/1490 – 27 August 1576), was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto, Republic of Venice). During his lifetime he was often called da Cadore, taken from the place of his birth.

Recognized by his contemporaries as "The Sun Amidst Small Stars", Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.

During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone are without precedent in the history of Western painting. More on Tiziano Vecelli

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01 Painting, Contemporary Interpretations of Olympian deities, Esther Sarto's Leda & the Swan, with footnotes #32

Esther Sarto

Leda & the Swan, c. 2023

Watercolour, gouache & acrylic medium on watercolour paper.

43 x 53 cm.

Private collection

Leda and the Swan is a story and subject in art from Greek mythology in which the god Zeus, in the form of a swan, seduces and has sex with Leda. According to later Greek mythology, Leda bore Helen and Polydeuces, children of Zeus, while at the same time bearing Castor and Clytemnestra, children of her husband Tyndareus, the King of Sparta. According to many versions of the story, Zeus took the form of a swan and had sexual intercourse with Leda on the same night she slept with her husband King Tyndareus. In some versions, she laid two eggs from which the children hatched. In other versions, Helen is a daughter of Nemesis, the goddess who personified the disaster that awaited those suffering from the pride of Hubris.

Especially in art, the degree of consent by Leda to the relationship seems to vary considerably; there are numerous depictions, for example by Leonardo da Vinci, that show Leda affectionately embracing the swan, as their children play. More on Leda and the Swan

Esther Sarto is an emerging contemporary artist, who was born in Denmark, in 1992.

Esther Sarto is best known for producing figurative work. Often seen as the contrary of abstraction, figurative art also subsists beyond just a simple representation of reality.

Sarto’s paintings depict a specific world beautified, one where all animals are equal, life feeds into itself and death is just the feeding of another creature of equal import. Sarto uses a soft palette for the harsh nature of her subject matter — the predator and prey are rendered as parallel versions, the meat and egg the same as the mother and child. More on Ester Sarto

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01 Work, Interpretations of Olympian deities, Giovanni Maria Bottala's Deucalion and Pyrrha, with footnotes #47

Giovanni Maria Bottala (1613–1644)

Deucalion and Pyrrha, circa 1635

Oil on canvas

181 × 206 cm (71.2 × 81.1 in)

Museu Nacional de Belas Artes

Considering the human race to be irretrievably lost and full of defects, Zeus, the sovereign of the gods, decided to put an end to it. To do so, he caused a flood to drown humanity. Only the couple formed by Deucalion and Pyrrha would be spared, due to their kindness. Zeus advised them to build an ark and take shelter in it. After floating for nine days and nine nights on the stormy waters, the ark stopped at the top of a mountain, where the couple disembarked.

When the waters receded, Hermes, Zeus' messenger, appeared and told them that the sovereign would grant any wish they had. Deucalion told him that they wanted to have friends. Hermes ordered them both to throw stones collected from the ground over their shoulders. The stones thrown by Deucalion turned into men when they hit the ground. Pyrrha's stones became women, and thus the world was repopulated. More on Deucalion and Pyrrha

Giovanni Maria Bottala (1613–1644) was an Italian painter active in the Baroque period.

He was born in Savona. He traveled to Rome as a young boy, and later became pupil of Pietro da Cortona in Rome. He painted in Rome, Naples, and Genoa. He was taken into the patronage of Cardinal Giulio Sacchetti, for whom he painted a Meeting of Jacob and Esau. Bottala acquired the name of 'Rafaellino,' from his great veneration for the works of Raphael. Other works are in the churches of Naples and Genoa. He died at Milan. More on Giovanni Maria Bottala

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01 Work, Interpretations of Olympian deities, THE ART OF WAR, Arturo Michelena's Penthesilea, with footnotes #50

Arturo Michelena

Penthesilea

Oil on canvas

436 x 648cm

Instituto Autonomo Circulo Militar de las Fuerzas Armadas, Caracas

Penthesilea, daughter of Ares and Otrera, was an Amazon queen who fought and died in the Trojan War. After Hector, the leader of the Trojan army, was killed in the final year of the war, Penthesilea arrived with a small but highly skilled troop of Amazon warriors to help the doomed city against the Greeks. Penthesilea slew many Greeks before being killed in turn by Achilles, the greatest of the Greek warriors at Troy. But when Achilles stripped Penthesilea of her armor and beheld her beauty, he fell in love with the fallen queen. More on Penthesilea

Francisco Arturo Michelena Castillo was born on June 16, 1863 in Valencia, Venezuela. He was the son of the painter Juan Antonio Michelena, who would become his teacher. Between 1869 and 1871, he studied at the Lisandro Ramírez School in Valencia, and later at the Colegio Cajigal whose director was Alejo Zuloaga, the future rector of the University of Valencia. Between 1874 and 1877, Michelena received his first drawing lessons from his father. He produced portraits, drawings of horses and his first self-portrait. He traveled to Caracas and met the writer Francisco de Sales Pérez, his mentor and patron. In 1879 Michelena and his father opened a painting school in Valencias. In 1883 he took part in the Great National Exhibition of Venezuela to commemorate the Centennial of the Birth of Simón Bolívar producing two works: Alegoría de la República regenerada (Allegory of the Regenerated Republic) and La entrega de la bandera invencible de Numancia al batallón sin nombre (Surrender of the Invincible Flag of Numancia to the Nameless Batallion). In 1885 he received a scholarship to study in Europe and left for Paris. Enrolling in the Académie Julian training with the painter Jean-Paul Laurens, who specialized in historical painting and would exert a great influence on the work of Michelena and his fellow students Emilio Boggio and Cristóbal Rojas. Although he returned from Europe for a short time in 1890, he moved permanently to Venezuela in 1893 and shortly after, painted his best known work, Miranda en la Carraca (Miranda in La Carraca) in 1897. He died in Caracas from tuberculosis at the age of 35. More on Arturo Michelena

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06 Paintings, Olympian deities, William Etty's Venus, with footnotes # 47

William Etty, RA (British, 1789-1849)

Venus

Oil on board

19.7 x 14.3cm (7 3/4 x 5 5/8in).

Private collection

Sold for £800 in 14, 2021

William Etty, RA (British, 1789-1849)

Venus

Oil on canvas

64.5 x 50.5cm (25 3/8 x 19 7/8in).

Private collection

Sold for £2,550 in September 2022

Venus is the Roman goddess whose functions encompassed love, beauty, desire, sex, fertility, prosperity and victory. In Roman mythology, she was the mother of the Roman people through her son, Aeneas, who survived the fall of Troy and fled to Italy. Julius Caesar claimed her as his ancestor. Venus was central to many religious festivals, and was revered in Roman religion under numerous cult titles.

The Romans adapted the myths and iconography of her Greek counterpart Aphrodite for Roman art and Latin literature. In the later classical tradition of the West, Venus becomes one of the most widely referenced deities of Greco-Roman mythology as the embodiment of love and sexuality. More on Venus

William Etty, RA (British, 1789-1849)

Venus and Cupid

Oil on canvas

70 x 47cm (27 1/2 x 18 1/2in)

Private collection

Sold for £7,650 in September 2022

William Etty (1787–1849)

The Toilet of Venus, between 1807 and 1849

Oil on canvas

height: 66 cm (25.9 in); width: 72.4 cm (28.5 in)

National Trust

This painting is characteristic of Etty, since many of his pictures consist of mythological characters worked up from extremely faithful studies of the female nude, drawn at the Academy Life School. Etty’s justification for painting the female nude so insistently was that he found ‘God’s most glorious work to be Woman’, and ‘that all human beauty had been concentrated in her’. Although there was much contemporary criticism of his work on the grounds of indecency, Etty was not deterred from his self-appointed task.

William Etty was a very unusual Victorian artist in dedicating himself almost exclusively to the depiction of the nude, which he painted in a glowing and sensual manner, reminiscent of Titian and Rubens. From his faithful studies undertaken at the Academy Life School, Etty produced many mythological and religious scenes, which he constantly subjected to the requirements of ideal art. More on this painting

William Etty

Venus and Cupid, c. 1830

York Art Gallery's collection

William Etty (1787–1849)

Venus of Urbino (after Titian), c. 1823

Oil on canvas

height: 122.3 cm (48.1 in); width: 169 cm (66.5 in)

Royal Scottish Academy

Different tales exist about the origin of Venus and Cupid. Some say that Venus, the goddess of love and beauty, had a love affair with Mars, the god of war. Out of this relationship, Cupid was born.

Cupid has attributes from both of his parents. Like his mother he is considered to be the god of love, or more precisely, the god of falling in love. He is portrayed as an innocent little child with bow and arrows. He shoots arrows to the heart, and awakening a love that you’re powerless to resist.

Venus and Cupid are often shown in intimate poses, reflecting the unique love between mother and child. More Venus and Love

William Etty RA (10 March 1787 – 13 November 1849) was an English artist best known for his history paintings containing nude figures. He was the first significant British painter of nudes and still lifes. Born in York, he left school at the age of 12 to become an apprentice printer in Hull. He completed his apprenticeship seven years later and moved to London, where in 1807 he joined the Royal Academy Schools. There he studied under Thomas Lawrence and trained by copying works by other artists. Etty earned respect at the Royal Academy of Arts for his ability to paint realistic flesh tones, but had little commercial or critical success in his early years in London. More on William Etty

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