Apollo and Daphne is a transformation myth of Hellenistic origin.
Apollo and Daphne may also refer to:
Baroque painting is the painting associated with the Baroque cultural movement. The movement is often identified with Absolutism, the Counter Reformation and Catholic Revival, but the existence of important Baroque art and architecture in non-absolutist and Protestant states throughout Western Europe underscores its widespread popularity.
Nicolas Poussin was a French painter who was a leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.
Daphne, a figure in Greek mythology, is a naiad, a variety of female nymph associated with fountains, wells, springs, streams, brooks and other bodies of freshwater.
Claude Lorrain was a French painter, draughtsman and etcher of the Baroque era. He spent most of his life in Italy, and is one of the earliest important artists, apart from his contemporaries in Dutch Golden Age painting, to concentrate on landscape painting. His landscapes are usually turned into the more prestigious genre of history paintings by the addition of a few small figures, typically representing a scene from the Bible or classical mythology.
Annibale Carracci was an Italian painter and instructor, active in Bologna and later in Rome. Along with his brother and cousin, Annibale was one of the progenitors, if not founders of a leading strand of the Baroque style, borrowing from styles from both north and south of their native city, and aspiring for a return to classical monumentality, but adding a more vital dynamism. Painters working under Annibale at the gallery of the Palazzo Farnese would be highly influential in Roman painting for decades.
Antonio del Pollaiuolo, also known as Antonio di Jacopo Pollaiuolo or Antonio Pollaiuolo, was an Italian Renaissance painter, sculptor, engraver, and goldsmith, who made important works in all these media, as well as designing works in others, for example vestments, metal embroidery being a medium he worked in at the start of his career.
Piero del Pollaiuolo, whose birth name was Piero Benci, was an Italian Renaissance painter from Florence. His older brother, by about ten years, was the artist Antonio del Pollaiuolo and the two frequently worked together. Their work shows both classical influences and an interest in human anatomy; according to Vasari, the brothers carried out dissections to improve their knowledge of the subject.
The Galleria Borghese is an art gallery in Rome, Italy, housed in the former Villa Borghese Pinciana. At the outset, the gallery building was integrated with its gardens, but nowadays the Villa Borghese gardens are considered a separate tourist attraction. The Galleria Borghese houses a substantial part of the Borghese Collection of paintings, sculpture and antiquities, begun by Cardinal Scipione Borghese, the nephew of Pope Paul V. The building was constructed by the architect Flaminio Ponzio, developing sketches by Scipione Borghese himself, who used it as a villa suburbana, a country villa at the edge of Rome.
Francesco Albani or Albano was an Italian Baroque painter who was active in Bologna (1591–1600), Rome (1600–1609), Bologna (1609), Viterbo (1609–1610), Bologna (1610), Rome (1610–1617), Bologna (1618–1660), Mantova (1621–1622), Roma (1623–1625) and Florence (1633).
Apollo and Daphne is a transformation myth. No written or artistic versions survive from ancient Greek mythology, so it is likely Hellenistic in origin. 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. The sculpture depicts the climax of the story of Apollo and Daphne, as written in Ovid's Metamorphoses, wherein the nymph Daphne escapes Apollo's advances by transforming into a laurel tree.
Italian Baroque art is a term that is used here to refer to Italian painting and sculpture in the Baroque manner executed over a period that extended from the late sixteenth to the mid eighteenth centuries. Italian Baroque architecture is not covered.
The Inspiration of the Poet is an oil-on-canvas in the classical style by the artist Nicolas Poussin, painted between 1629 and 1630. It is currently held and exhibited at the Louvre in Paris.
Metamorphoses (Transformations) is a Latin narrative poem by the Roman poet Ovid, considered his magnum opus. Comprising fifteen books and over 250 myths, the poem chronicles the history of the world from its creation to the deification of Julius Caesar within a loose mythico-historical framework. Although meeting the criteria for an epic, the poem defies simple genre classification by its use of varying themes and tones.
The Death of Chione is an oil-on-canvas painting executed in 1622 by the French artist Nicolas Poussin, his first known surviving work. He produced it during a stay in Lyon and in February 2016 it was acquired by that city's Museum of Fine Arts. It shows the death of Chione, lover of both Hermes and Apollo – she had compared her beauty to that of Apollo's sister Artemis, who hunted her down and killed her by shooting an arrow through her tongue.
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. It shows Daphne's transformation into a laurel tree to escape Apollo in Ovid's Metamorphoses.
The Cardinal of Portugal's Altarpiece, or the Altarpiece for the Cardinal of Portugal's Chapel, is a painting of c. 1466 in tempera and oil on panel by one or both of the brothers Antonio and Piero del Pollaiuolo. It was painted for the altar in the Cardinal of Portugal's Chapel, a funerary chapel in the church of San Miniato al Monte in Florence, built for the prince and cardinal James of Portugal, who died in exile in Florence in 1459 at the age of 25.
Saint James the Great's Vision of the Virgin Mary is a c.1629-1630 oil on canvas painting by Nicolas Poussin, now in the Louvre Museum. It shows a vision in Zaragoza whilst James the Great was evangelising Spain.
Apollo and Daphne or Apollo in Love with Daphne is a 1661-1664 oil on canvas painting by Nicolas Poussin, produced just before the painter's death and now in the Louvre Museum.
The Continence of Scipio is the name of the following paintings: