The best known scene in the story of Angelica and Medoro, as painted by Spranger, Ricci, Tiepolo and others.
Painting dreams relies on a compositional convention to show both the viewer’s image of the dream, and that of the dreamer.
Under the patronage of the d’Estes, Ariosto drew on Carolingian and Arthurian legend, and classical myths, to create his epic. With superb paintings to accompany.
How Perseus came to behead Medusa, and how her head restored order to the worst wedding reception ever. In paint, of course.
Two masterworks: Botticelli’s Primavera (Spring) and Poussin’s Empire of Flora, telling stories from Ovid. And they paintings they influenced.
Later painting of the Black Death and plague stressed the importance of divine intervention in limiting its spread.
Even Poussin used this narrative form. Here are other example right up to 1947, including paintings by Corot, Munch, Corinth, and others.
After three brief tales of strange happenings in early Rome, Ovid gives an account of the bringing of the god Aesculapius to the city, to end an epidemic.
The ultimately disastrous wedding feast ends with its guests killing one another in a series of pitched battles, after one guest tried to abduct the bride.
Even when you’re the King of Kings, being depicted in art is not easy. There’s one masterpiece by Rembrandt which is perhaps appropriate to the ruler of the greatest empire of its time.