Jupiter and Semele 19 th century French painter Gustave Moreau was an artist highly regarded for his intricate use of images based on myth and legends to create very symbolic and often haunting paintings. Moreau was quoted saying: “I love my art so much that I shall only be happy when I can practice it for myself alone.” In a time when many artists choose to paint classical mythological subjects as if it were a proper education in Greek and Latin, Moreau was developing his own unusual and personal interpretations using a classical subject matter as his tool for artistic expression. This is very much the case in his painting of Jupiter and Semele (1894-5) in which Moreau explores classical myth in a very personal and unorthodox way to express his interest in mythology and religion as a true Visionary artist. Moreau employs a variety of methods to create his works, one way Moreau makes the work more personal is by taking the molds of mythological stories and turn them into a mystical world with poetic melancholy with his own personal style using color and size to create emotion. In these detailed pieces Moreau combines lush vegetation with jewel-like colors make the fantasy world seem so real. Finally, as a French Symbolist painter, Moreau used various iconography meant to be mysterious and ambiguous in their meanings, often using icons from Symbolist writings and ancient myths.
In Jupiter and Semele Moreau develops his own interpretations and vision of the mythological tale about Zeus and Semele. Semele is a mortal, and one of Zeus’s many lovers. She was a The bian princess, and the only mortal to be a parent of a god. She is bent known as the mother of Dionysus, god of wine. Hera was Zeus’s wife and sister, when she learned of who was responsible for this birth she killed Semele. Because of his mother dying while he was in the womb.
The Term Paper on Classical And Modern Rhetoric
Classical And Modern Rhetoric An interpretive option for historicists of classical rhetoric and composition lies waiting: Platonic rhetoric. Two primary issues need to be reconceptualized and integrated into contemporary rhetoric and composition studies in order for this option to work: (1) what Plato says about rhetoric and writing in dialogues such as Phaedrus, Gorgias, and Protagoras and in ...
Dionysus was ripped from the womb of his deceased mother, and then implanted in Zeus/Jupiter’s thigh from which he was later reborn. The story ends with Dionysus making his way to the Underworld to save his mother whom he had never seen, and arranged for her to live with the gods and goddesses on Mount Olympus. In the painting Moreau has used vivid colors and intense proportions to create a magical and mysterious feeling. Moreau describes the setting in a detailed manner; “in the midst of colossal aerial buildings, with neither foundations nor roof-tops, covered with teeming, quivering vegetation, this sacred flora standing out against the dark blues of the starry vaults and the deserts of the sky, the God so often invoked appears in his still veiled splendor.
A quote such as this gives us and idea of what the artist was trying to create. His elaborate compositions and glowing colors give the painting a dreamlike quality to them. By combining colossal size with contrasting colors and close attention to detail Moreau is able to create a painting that is a visual journey through Moreau’s vision and interest in the subject matter. Moreau’s often odd visions of antiquity can be very tough to grasp for audiences at times because of there intensity and mystery, when his painting of Orpheus was exhibited at the 1866 Salon Moreau accompanied it with his own explanation to clarify his leap from more traditional methods of depicting the legend. Gustave Moreau is known for taking ancient legends and developing them into more personal and dark versions in a manner much different than typical depictions. In Jupiter and Semele this is achieved by combining intense detail with vivid colors and bizarre shifts in size to create a visual journey for the viewer full of emotion, exploration and creativity.
The Essay on Description Of Historical Painting
Allegory of Charles I of England and Henrietta of France in a Vanitas Oil on canvas painting as done by Frenchmen by the name of Simon Renard de Saint-Andre between the years of 1669 and 1677. The main purpose in evaluating this piece of work is to be aware and describe the physical features, content and symbolization of this painting. This will undoubtedly include the complexity of painting and ...
Gustave Moreau is often regarded as a founder of the Symbolist movement, and as inspiration for a radical group of painters called the Faves. He is known for including many iconographic images in his paintings derived from various sources including important symbolist writings and often ancient myths. In his painting of Jupiter and Semele Moreau has used a gigantic entourage of mythological creatures and gods all as part of the visual journey within the painting. Moreau was extremely fascinated with mythological and religious imagery, and he describes himself as an “assembler of dreams.” It is quite difficult to decipher all of the iconography when there are hundreds in one piece, yet it is the inclusion of these items that is important to Moreau’s visionary style. In a description of Jupiter and Semele by Moreau he writes about the scenes at the base of Zeus’s throne; “At the foot of the throne, Death and Sorrow form the tragic basis of Human Life, and not far from them, under the aegis of the eagle of Jupiter, the great Pan, symbol of Earth, bows his sorrowful brow, mourning his slavery and exile, while at his feet is piled the somber phalanx of the monsters of Erebus and Night… .’ This quote only describes a portion of the images in the painting, yet they are some truly important ones in the story of Jupiter and Semele.
The Pan is regarded as the symbol of the universe and the personification of nature, he is a winged man covered by vegetation sitting down mourning his slavery and exile as Moreau described. This could be a comment on how humans are taking over nature as if they could own it. Surrounding the great Pan are symbols of Death and Sorrow, which are human figures, one with a sword and the other mourning. These ideas are included because death and sorrow are known as the basis of human life, they surround nature, which they have used and abused.
The magical goddess Hecate is also shown wide-eyed with the crescent moon above her head. Hecate could be included in this piece as a reference to the Underworld, for she has many association with dark mysteries of the Underworld, as well very close ties to Zeus and other Olympian deities. This reference to the underworld is quite important in the story of Jupiter and Semele because Semele’s daughter Dionysus went to the Underworld to save his mother whom he had never had seen. Also included is the god Erebus and Nyx, Erebus is known as the embodiment of primordial darkness.
The Essay on Dionysus Zeus Hera Semele
Dionysus Dionysus was the most widely worshipped and popular god in ancient Greece. It's not difficult to see why; he was their god of wine, merriment, ritual dance, warm moisture, and later, civilization. He was often depicted asa handsome young man, dressed in fawn skin, and carrying a goblet and an ivy-covered staff. Some myths hold that Dionysus was the son of Zeus -- the king of the god -- ...
Erebus was born with Nyx (Night), and is the father of aether (upper atmosphere), and He mera (Day).
Legend describes Erebus as the Infernal Region below the earth. In this version, Hades was split into two regions: Erebus, which the dead have to pass shortly after they have died, and Tartarus, the deepest region, where the Titans were imprisoned. I believe that this image was included because this must have been the region of the Underworld in which Semele was occupying before being saved by her son. These and many, many other characters including a three-headed demon and angelic figures fill the lush and dramatic scene with a mystical quality to them. These mythological characters are not randomly selected, yet they are all intertwined in an elaborate composition, all of which shed light on the overall story of Jupiter and Semele.
The intricate setting is one of the many ways in which Gustave Moreau creates his Visionary masterpieces, and that certainly reigns true in Jupiter and Semele.
