West turns to a series of more classical mythological stories for his paintings between 1792 and 1802. These include Shakespeare, the Bible, and the first novel.
Two delightful and gently humorous stories, with superb paintings by Domenichino, Poussin, de Clerck (a real jewel), and Émile Lévy.
One of Ovid’s most painted stories, still popular, with some of the finest depictions by Poussin, Rubens, Corot, Watts, Scheffer, and others.
When he returned to painting in 1504, he was quick to incorporate the latest developments such as sfumato, and enhanced his landscapes from real life.
A maze of myths about shape-shifting, Neptune, and the sea leads to two wonderful but puzzling paintings.
Five of the best stories and finest paintings from the first half of Ovid’s Metamorphoses, from the tragic lovers Pyramus and Thisbe, to the Calydonian boar hunt.
A group of popular mythical heroes set out to kill a fearsome wild boar sent by Diana in vengeance. It turns into farcical tragedy, and some superb paintings.
One of Ovid’s best stories of a tragic end to a blissful marriage, with superb paintings by Veronese, Poussin, Rubens, and others.
A link between the downfall of Medea and a series of stories about the hero Theseus, this was a subject for the Prix de Rome. Includes a little-known Poussin.
Are they part of a narrative, or staffage? Do they provide scale, or enhance the effect? Are the figures part of the landscape, or even the landscape itself?