Apollo and Marsyas is the name of the following paintings:
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.
In Greek mythology, the satyr Marsyas is a central figure in two stories involving music: in one, he picked up the double oboe (aulos) that had been abandoned by Athena and played it; in the other, he challenged Apollo to a contest of music and lost his hide and life. In antiquity, literary sources often emphasize the hubris of Marsyas and the justice of his punishment.
Giovanni Francesco Barbieri, better known as (il) Guercino, was an Italian Baroque painter and draftsman from Cento in the Emilia region, who was active in Rome and Bologna. The vigorous naturalism of his early manner contrasts with the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.
Salvator Rosa (1615–1673) is best known today as an Italian Baroque painter, whose romanticized landscapes and history paintings, often set in dark and untamed nature, exerted considerable influence from the 17th century into the early 19th century. In his lifetime he was among the most famous painters, known for his flamboyant personality, and regarded as an accomplished poet, satirist, actor, musician, and printmaker, as well. He was active in Naples, Rome, and Florence, where on occasion he was compelled to move between cities, as his caustic satire earned him enemies in the artistic and intellectual circles of the day.
Jusepe de Ribera was a Spanish painter and printmaker. Ribera, Francisco de Zurbarán, Bartolomé Esteban Murillo, and the singular Diego Velázquez, are regarded as the major artists of Spanish Baroque painting. Referring to a series of Ribera exhibitions held in the late 20th century, Philippe de Montebello wrote "If Ribera's status as the undisputed protagonist of Neapolitan painting had ever been in doubt, it was no longer. Indeed, to many it seemed that Ribera emerged from these exhibitions as not simply the greatest Neapolitan artist of his age but one of the outstanding European masters of the seventeenth century." Jusepe de Ribera has also been referred to as José de Ribera, Josep de Ribera, and Lo Spagnoletto by his contemporaries, early historians, and biographers.
The Church and Convent of the Girolamini or Gerolamini is a church and ecclesiastical complex in Naples, Italy. It is located directly across from the Cathedral of Naples on via Duomo. The facade is across the homonymous piazza and street from Santa Maria della Colonna. It is one block west of Via Duomo.
Et in Arcadia ego is an oil-on-canvas painting created c. 1618–1622 by the Italian Baroque artist Giovanni Francesco Barbieri (Guercino). It is now on display in the Galleria Nazionale d'Arte Antica of Rome.
Bartolomeo Cavarozzi (1587–1625), occasionally referred to as Bartolomeo Crescenzi, was an Italian caravaggisti painter of the Baroque period. Cavarozzi's work begin receiving increased admiration and appreciation from art historians in the last few decades of the 20th century, emerging as one of the more distinct and original followers of Caravaggio. He received training from Giovanni Battista Crescenzi in Rome and later traveled to Spain alongside his master for a few years where he achieved some renown and was significant in spreading "Caravaggism" to Spain before returning to Italy. His surviving works are predominantly Biblical subjects and still-life paintings, although older references note he "was esteemed a good painter especially of portraits".
Leonardo Coccorante (1680–1750) was an Italian painter known for his capricci depicting imaginary landscapes with ruins of classical architecture.
The Pietà is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus.
The Flaying of Marsyas is a painting by the Italian late Renaissance artist Titian, probably painted between about 1570 and his death in 1576, when in his eighties. It is now in the Archbishop's Palace in Kroměříž, Czech Republic and belongs to the Archbishopric of Olomouc. It is one of Titian's last works, and may be unfinished, although there is a partial signature on the stone in the foreground.
The Allegory of Vice is an oil on canvas painting by Correggio dating to around 1531 and measuring 149 cm (59 in) by 88 cm (35 in).
The Flaying of Marsyas is the death of Marsyas in ancient Greek mythology. It may refer to a number of works of art depicting the scene, including:
Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.
Apollo and Marsyas is the title of a 1637 painting by the Spanish artist José de Ribera, now in the Royal Museum of Fine Arts of Belgium. Other versions are now in the Museo di Capodimonte and the Naples Archaeological Museum. They all show the Caravaggisti's heavy influence on the artist, and depict Marsyas' flaying by Apollo.
Apollo as Victor over Pan, also known as Apollo's Victory over Marsyas, Tmolus declaring Apollo winner in musical competition with Pan and Apollo and Pan, is a 1637 oil-on-canvas painting by Flemish Baroque painter, draughtsman and tapestry designer Jacob Jordaens.
Apollo and Marsyas is an oil-on-canvas painting by the Italian artist Luca Giordano, created circa 1665. It is held at the collection of the Pushkin Museum, in Moscow. A variant of the work is in the Bardini Museum, in Florence.
Landscape with Apollo and Marsyas is an oil on canvas painting by Claude Lorrain, created c. 1639. It is held now in the Pushkin Museum, in Moscow.
Democritus was an Ancient Greek philosopher notable for his atomic theory of the universe.
Apollo and Daphne is a transformation myth of Hellenistic origin.