Myth of EUrope in art

The Myth of Europe
Through literature, paintings, sculptures,
places, artists…

The Myth of Europe
two meanings:
- from eu-rope, eυ-ρώπη, ”well irrigated”
- from εὐρύς (eurus), ”wide” + ὤψ/ὠπ-/ὀπτ- (ōps/ōp-/opt-), “eye, face ” - Eurṓpē,
”wide gaze", ”wide look", synonymous full moon, name of the goddess.
Europe - Europa is a feature of the Greek mythology.
The name Europe derives from ancient Greek Ευρώπη
In the Myth Europa was a Phoenician woman of high lignage from whom the name of the
continent has been taken.
ORIGINS

Very popular Myth in western culture represented in literature and art:
First written signs are to find back in Homer’s and Hesiod, but an oral tradition refers to
events connected to the Myth in XIX - XV c. BC.
Quite complex and differing interpretation:
Europa's earliest literary reference is in the Iliad, Homer (8th c. BC).
Another early reference is in the Hesiodic Catalogue of Women, Hesiod (650-750 BC)
LITERATURE SOURCES
There were two competing myths relating how Europa came into the Hellenic world, but
they agreed that she came to Crete, where the sacred bull was paramount.
In the more familiar telling (Hesiod) the name Europa occurs in the long list of daughters of
Oceanus and Tethys and is the object of the seduction by the god Zeus in the form of a bull,
who breathed from his mouth a saffron crocus and carried her away to Crete.
Herodotus (484 – 425 BC) provided a more literal version beginning the account of
Persian-Hellene confrontations telling how she was kidnapped by Minoans, who were said
to have taken her to Crete.

As a further proof of Europa's Phoenician origin in 2012, an archaeological mission of the
British Museum, discovered in Sidon ancient currency that depicts Europa riding the bull
with her veil flying all over like a bow – recurring element in iconography.
Moreover the mythical Europa cannot be separated from the mythology of the sacred bull,
which had been worshipped in the Levant.
The story of her abduction by Zeus in the form of a white bull was a Cretan story;
It’s to frame among "most of the love-stories concerning Zeus originated from more ancient
tales describing his marriages with goddesses” (Kerényi ).
The daughter of the earth-giant Tityas and mother of Euphemus by Poseidon was also
named Europa.

After reaching the beach Jupiter reveals his real identity and lives with her giving birth to
three children Minos (future King of Crete), Radamanto and Sarpèdone;
finally Jupiter gives Europa as a wife to the king of the island, Asteria, who adopts the
children.
Europa, Phoenician Princess (from present Lebanon territory, cities of Tyre and Sido), is
picking flowers by the sea with girl-friends, where she is spotted and desired by Jupiter-Zeus
Main features of the Myth (in different versions, most popular by Ovidius-Ovid):
- to seduce her he turns into a white bull and make Mercury be the leader of a proper herd
towards the girls to gets closer;
- the girl is fascinated by the beautiful and gentle animal, she caress it, put a crown on it and
finally she climbs on its back;
- the bull dives into the sea and swims towards the island of Crete bringing her along;
The Myth continues with the stories of Europa’s brothers, travelling to different directions
in search of their sister: among them Cadmo who, reaching eastern Greece, founded Tebe;
THE MYTH

The image of the girl travelling by sea on the back of a lover bull,
a bull in love suspended between delight and fear, has been a main subject of
inspiration for several artists (sculptors, painters, mosaic and textile makers) through
centuries.
Europa does not seem to have been venerated directly in cult anywhere in classical
Greece, but at Lebadaea in Boeotia. Pausanias, a Greek traveller and geographer of the II
c. AD (who lived in the times of Hadrian, Antoninus Pius and Marcus Aurelius) noted that
Europa was the epithet of Demeter—"Demeter whom they surname Europa …."
Generally the Myth represents a movement of civilization from East to West and the
name Europa, given to western territories, witnesses this movement.
The degree of respect of ancient sources is very varied, from total adhesion to vague
inspiration and the feeling of continuity is illusory.
The dissemination of the Myth in the Middle Age belongs to illustrated Ovid’s Metamorphoses.
From XIVc. the version of the Ovide moralisé, informed by Ovid, the Christian Bible and other Latin
and vernacular authorities, from Plato to Chrétien de Troyes, written by an anonymous Franciscan
friar was very popular. Allegorical meaning: Europa represents the human soul and the bull is
Christ, as a redeemer moving Europa from Earth (desires and misguided affections to which many
of Ovid's protagonists succumb) to Paradise (Img11).

At least 200 images of the Myth are known to be produced in ancient times. The earliest
vase-painting with subject securely identifiable as Europa, dates from mid-7th century BC,
Here to follow a very partial but meaningful idea of the richness of the production through
the centuries – representation of different moments of the Myth:
In some periods as in ‘600-’700, the Myth seems often to be without any deep meaning
more used as an ornamental motif to reproduce even on different objects or tapestry.
On the other hand during the ‘500 and onwards great representation of the Myth recalling
the theme with all its dramatic features.
Tiziano Vecellio or Paul Rubens among the most significant: two images showing an extraordinary
mixture of creativity and repetition as a “duel” in a 70 years period gap (Img 25-31a).
In the contemporary age the Myth has been again modified and adapted to times,
reflecting political and cultural changes of the continent (Img 40 onwards).
There have been also plenty of engraving representations for printed books (e.g.Img 24,
30a)

Title: Europe on the bull Author: /
Date: Half VII BC.
Location: Paris, Bibliothèque Nationale
Type: fragment of phitos beota
Img 1

This fragment of PHITOS BEOTA is the most ancient
representation of the Myth of Europe known.
PHITOS: ancient Greek word for a large storage jar of a
characteristic bombed shape
BEOTA, from Beotia, part of present Central Greece region
facing the Gulf of Corinth and of Ancient Greece with the
most important city Thebes

References to Beotia:
- As already told, Pausanias, in his Description of Greece, a crucial link between classical
literature and modern archaeology, tells about the archaic story of Labadea, beotian
city where is recorded a particular form of worshipping of goddess Demeter, who
presided over harvest and fertility, there called also Europe
- Cadmius, brother of Europe, well represents a link to Beotia because there, searching for
the sister, he founds Thebe and brings the alphabet from East to West, from Phoenicia
to Greece.

Typical archaic iconography for the representation of the Myth: very simple scene and
characters superimposed, Europe on the running bull, from right to left
Details:
- a very thin bull more similar to a
horse , but with a bull tail, different
iconography from others
- the paws very apart to represent the
extended running movement
through the sea to the island of
Crete
- the decorated dress and Assyrian
jewel to characterise the Princess
(similar to other representations of
bulls in minoan-mycenean culture of
Crete, see Img 3)

Title: Europe on the bull
Author: /
Date: 580–560 BC.
Location: Palermo, Museo
Archeologico “Antonio Salinas”
(Selinunte, tempio Y)
Typology: Sculpture in tuff
Img 2
One of the most significant ancient
representation of the Myth renowned.
Found in the 10th February 1892 by
Antonio Salinas together with three
other metopes belonging to a tower of
the city wall of Selinunte (around V c.
BC.)
Originally it had to be polychrome, some traces of blue colour where found.
Carved in tuff stone it presents a bas-relief.

Simple graphic but detailed:
Europe shows her face in profile;
her hands are resting, one on the horn, the other
in the back of the animal, legs are both to the
right – main motif recurrent through centuries.
She’s wearing a long chitone (long tunic) and the
hair is gathered and dispersed on her body.
Arching front paws accentuate the idea of
movement in the water.
Two dolphins under the bull paws represent the
sea that is one of main the subjects of the Myth
(see also e.g. Img 10a).
The bull has its muzzle facing the viewer .
Bull’s hair in the forehead is well kept as well as
Europa’s one,
even the bull’s tail is combed in a tress.
Europa’s attitude is serene, still far from the poetic tradition from I c. AC. onwards – Ovid
version tells about a playful and sensual relation but at some point terrified (see also
Horace, Carmina, book II, XXV 9.

OVID Bk II:833-875, Jupiter’s abduction of Europa
…. Mercury “There his father calls him aside, and without revealing love as the reason, says
‘Son, faithful worker of my commands, go, quickly in your usual way, fly down to where, in an
eastern land, they observe your mother’s star, among the Pleiades, (the inhabitants give it the
name of Sidon). There drive the herd of royal cattle, that you will see some distance off,
grazing the mountain grass, towards the sea shore!’
He spoke, and immediately, as he commanded, the cattle, driven from the mountain, headed
for the shore, where the great king’s daughter, Europa, used to play together with the Tyrian
virgins. Royalty and love do not sit well together, nor stay long in the same house. So the
father and ruler of the gods, who is armed with the three-forked lightning in his right hand,
whose nod shakes the world, setting aside his royal sceptre, took on the shape of a bull,
lowed among the other cattle, and, beautiful to look at, wandered in the tender grass….”
continues nxt page

” … In colour he was white as the snow that rough feet have not trampled and the rain-
filled south wind has not melted. The muscles rounded out his neck, the dewlaps hung down
in front, the horns were twisted, but one might argue they were made by hand, purer and
brighter than pearl. His forehead was not fearful, his eyes were not formidable, and his
expression was peaceful. Agenor’s daughter marvelled at how beautiful he was and how
unthreatening.
But though he seemed so gentle she was afraid at first to touch him. Soon she drew close and
held flowers out to his glistening mouth. The lover was joyful and while he waited for his
hoped-for pleasure he kissed her hands. He could scarcely separate then from now. At one
moment he frolics and runs riot in the grass, at another he lies down, white as snow on the
yellow sands.
When her fear has gradually lessened he offers his chest now for virgin hands to pat and now
his horns to twine with fresh wreaths of flowers. The royal virgin even dares to sit on the bull’s
back, not realising whom she presses on, while the god, first from dry land and then from the
shoreline, gradually slips his deceitful hooves into the waves. Then he goes further out and
carries his prize over the mid-surface of the sea.
” … In colour he was white as the snow that rough feet have not trampled and the rain-
filled south wind has not melted. The muscles rounded out his neck, the dewlaps hung down
in front, the horns were twisted, but one might argue they were made by hand, purer and
brighter than pearl. His forehead was not fearful, his eyes were not formidable, and his
expression was peaceful. Agenor’s daughter marvelled at how beautiful he was and how
unthreatening.
But though he seemed so gentle she was afraid at first to touch him. Soon she drew close and
held flowers out to his glistening mouth. The lover was joyful and while he waited for his
hoped-for pleasure he kissed her hands. He could scarcely separate then from now. At one
moment he frolics and runs riot in the grass, at another he lies down, white as snow on the
yellow sands.
She is terrified and looks back at the abandoned shore she has been stolen from and her right
hand grips a horn, the other his back, her clothes fluttering, winding, behind her in the breeze.“
OVID Bk II:833-875, Jupiter’s abduction of Europa

Title: Rape of Europe
Author: /
Date: 500 BC.
Location: Providence, Rhode Island School of
Design, Museum of Art
Typology: Attic vase (lekythos)
Img 3
The decoration develops all around the geometry of
the vase, from left to right up to the neck of the
vase with a flower motif.
“these garlands are usually associated with
Dyonisos and the Maenads. Here there might be a
minor motif contamination, as can be seen on
numerous vases”

Presumably , according to the position and attitude of the
subjects, Europe and the bull are still standing out of the
water, the one moment before the proper rape, as soon as the
bull has just arched his back and the girl gets surprised.
The God is perhaps forced to lift his muzzle responding to the
attitude of Europa who, scared by the risk to fall, grabs one
horn and try to hold herself.
The girl is wearing as a Princess: a long elegant multi-folded
decorated chitone and a nice hair band
More clear the other figures to the side : Afrodite (with a
mirror) and Hermes.
Possibly representing two divinities: on one side love, good
premonition for the union of Jupiter and Europa and the trip
(Hermes, messenger of gods and god of commerce) to Crete
where Europe will give birth to three children and be a Queen .

Author/ Artist: Painter from
Berlino (Beazley)
Date: 480 BC.
Location: Tarquinia, Museo
Nazionale
Typology: Attic vase
Img 4
The crater is a funerary urn
containing the ashes of a woman
according to a small golden ring
found inside.
Europe is richly dressed as a Princess.
Even here the more common
iconography, is abandoned:
the scene is depicting the previous
moment to the proper rape, when
Europa is behind the bull still not on
his back holding him by a horn.

Title: Juppiter and Europe
Author: /
Date: 470-450 BC.
Location: Parigi, Musée du
Louvre
Typology: Boeotian terracotta
sculpture
Img 5
The work is a sculpture in the
round with a rough surface
and archaic forms:
figures features appear rigid
and approximately described,
the low detailing would
suggest a worshipping
function.

Title: Jupiter and Europe
Author/Artist: Assteas
Date: 350-330 B.C.
Location: before in Los Angeles,
Malibu, J. Paul Getty Museum,
recently got back to Italy,
now under control by Carabinieri del
Nucleo Tutela Patrimonio Culturale-
Heritage Care
Typology: Vase in the shape of
chalice from Paestum
Img 6
Found in a black excavation in
Sant’Agata dei Goti (BN) and
illegally exported abroad in
1973 to be sold.
It was bought by the Paul Getty
Museum in Malibu where it has
been until 2009, when
recognized and given back to
Italy together with other
masterpieces.

It’s a rare example of work with the
signature of the author. It shows the
decoration on the front with the
narration from right to left.
Img 6
The bull is moving to the left but
looking to the front. Classical
iconography: Europa is sitting to a
side looking forward, her hair down
on her shoulders with a beautifully
embroidered dress, one hand on a
horn the other one keeping her veil
blowing in the wind.
The central group of Europa sitting
on the back of the bull presents
elements connected to a marine
landscape: fishes on the bottom and
sea divinities with long tails, the bull
also has curved legs as if he was
swimming in the water.

Title: The rape of Europe
Author: /
Date: I c. AD.
Location: Paris, Musèe de Guimet, from Begram
(Afghanistan)
Typology: Glass vase
Img 7
Part of a rich treasure found in one of the four
afghani sites - Begram - discovered during the
first half of XX c.
discovered by the Mission Hackin around 1939,
a wide variety of priceless historical and artistic
value painted glasses.
The most common shape is elongated and
conical, typical of Alexandria of Egypt
hellenistic age painting ((332 -30 b.C.).

Img 7
Begram glasses were decorated, as showed
here, with a peculiar style with a prevailing
black sign to define shapes and shadows.
The veil blowing in the wind shaped in an arch
is a recurrent element as well in the figurative
tradition as in the literary one.
The bull is red because of the white
background.

Author: anonymous
Date: End of I Century B.C.- beginning of
Ist Century A.D.
Location: Aquileia, Archaeological
Museum
Typology: Mosaic
Img 8
Fine Hellenistic craftsmanship, was
part of the pavement in a roman house
room in Aquileia (north-eastern border
of Italy with Slovenia) situated in the
northern part of the main Piazza
Capitolo.

Made in calcareous stones and green
and blue glass paste it was found in
1845 during an excavation made to
the north of Aquileia Basilica (public
building for meetings and justice).
Img 8
Young Europa is here completely
naked without any traditional
attribute seen so far
(only the fact she’s sitting on a side,
the hair in the wind and the position
of the hands).
This character could refer to another
tradition recognizing in Europa a
Nereide, as told by Esiodo in his
Teogonia where Europa is mentioned
as daughter of Nereo (ancient God,
symbol of a calm and good sea) .

Title: Europe and the bull
Author: anonymous
Date: 50 AD.
Location: Napoli, National
Archaelogical Museum, corridor I
(from Pompei, House of Giasone (IX,
5, 18), west wall of cubiculum g)
Typology: wall painting, Fresco
Img 9
In the museum collection since
1878 following the excavation
wanted by king Ferdinando IV
Borbone in 1787.
The painting is ascribable to the IV
Pompeian style (mural painting
styles by archaeologist August
Mau, 1840 – 1909).

Img 9
Scenae frontes are inserted in
aedicules decorated with rectangles
and losenges, transposition on fresco
of an easel painting.
The scene represents the moment
when Europe is sitting on the bull
dressed in a veil leaving the body
naked and covering the legs.
The girl has an absent gaze, again
holding with a hand one of the horns
and with the other the veil (or the back
of the animal - Ovid) (Img 2, 7,8)
More complex and real scene: three
maids are helping her.

Author: anonymous
Date: 330-360 AD.
Location: Kent, Lullingstone
Villa
Type: floor painting mosaic
Img 10
Situated in the semicircular
triclinium of the Villa.
The construction belongs to
the roman influence period
and was realized in a long
period of time from the I-II c.
to the IV-V sec. AD.
The villa is composed by a series of stratified and superimposed buildings and was used as a
private rural estate or as a sort of farm. It was decorated in the IV c. with floor mosaics, as the one
of Rape of Europa.
The mosaic frames the scene with some aniconic (with no images) motifs.
Europa is represented sitting on a side of the bull – Jupiter: with a hand she’s holding to the neck
and with the other one she keeps the blowing veil, she has a foot lifted not to touch the water.

Author: /
Date: III c. AD.
Location: House of Europa
Typology: Mosaic
Img 10a
Serene attitude of Europa
brought away by the bull,
embracing confident the
animal.
Representation of the sea
with fish (Img2).
New element is the angel
with the torch of love.

Author: /
Date: ?
Location: Germany
Typology: Mosaic
Img 10b
Very dynamic scene, three
groups of figures:
the three maids, Europa
and the bull, the shephard
– Mercury.
Beautiful mountain
landscape.
Important roman mosaic discovered in 1676 in Praeneste, Palestrina, left Rome 1941
for Germany and is still there: Hitler wanted it for his museum never born in Linz.
From 1691, it was exposed in Palazzo Barberini; from 1934, in Villa Giulia.
It has been a model for later art.

Author: anonymous
Date: 1385
Location: Lyon, Bibliothèque de
la Ville, handbook dell’Ovide
Moralisé, Ms. 742. fol. 40
Typology: Illustation
Tecnique: miniature (67 x 61
mm)
Img 11
The miniature is taken from the
Lyon manuscript translating
l’Ovide Moralisé, from the
Metamorphoses. It represents
the passage of the Ovidian
Myth telling “how Jupiter
raped the beautiful Europa”, as
in the bottom caption in red.
Jupiter is depicted as a white bull transporting Europa
on the sea far from the beach, towards the left to what
we know Sidonia – Crete.
To the right, on the edge of a rock, there are three girls
from the entourage of Europa she was playing with
before the rape.

Img 11 The three are facing Europa, dressing in
the contemporary way according to the
manuscript: one of them, with her hands
open in front of Europa, seems to be
calling her, the other has her hand on
the heart and the third, in the
background, is peacefully looking at the
marine ride.
Europa, represented while riding the bull
with her blond hair blowing in the wind,
is sitting to one side with her feet
together, one hand on her dress the
other lifted to the left. The look is serene
completely dedicated to the divine
animal.
The rape of Europa, is here told according to a Christian interpretation tending to give to the
Myth a new allegorical meaning: the transportation of Europa through the sea made by
Jupiter has here a totally positive connotation, as a symbol of human soul redemption
through the incarnation of God in the body of Christ- the bull.

ROMA
Author/ Artist: Antonio di Pietro
Averlino, named “Filarete”
(1400-1469?)
Date: 1433-1445
Location: Città del Vaticano,
Basilica of St. Peter, Bronze door
of St. Peter.
Client: papa Eugenio IV (1431-
1447)
Typology: relief
Img 12
The door is considered one of the first forms of the Renaissance art in Italy;
inaugurated in 1445 to celebrate the church and the Pope Eugenio IV.

A wide frame in acanthus leafs defines
scenes with profane and mythological
character where is possible to
recognize, located in the six shutters of
the door: Emperors’ portraits,
historical figures and eastern and
western church reunification episodes
by pope Eugenio IV, Saint Peter and
Paul martyrdom scenes and other
sacred images.
Img 12
ROMA
This representation is a synthesis between ancient images (Byzantine and Classical) and
contemporary ones, intended to stress the passage from Pagan Rome to Christian and
modern Rome.

Author/ Artist: artist from Padua
or Venice XV-XVI secolo
Date: 1470-1490
Location: Firenze, Museo
Nazionale del Bargello
Typology: Little bronze (h. 21,5
cm)
Tecnique: in the round bronze
cladded with black laque
Img 13

General sense of classical grace
and majesty (see the classical
clothing of the girl, from the
footwear to the tunic, similar to
a peplum), probably a reference
to the rediscovery of the
classical world by the venetian
art and culture of the time.
Img 13
Europa is sitting on the bull, it
proceeds slowly alluding more
to a classical triumph scene
then to the representation of a
rape.

Title: The rape of
Europe
Author/ Artist:
Albrecht Dürer (1471-
1528)
Date: 1494-1495
Location: Wien,
Albertina
Typology: Drawing
Img 14
The paper belongs to a
notebook that shows
preparatory works
and drafts.
The rape of Europa is represented on half the paper and is separated by a dividing
line from other preparatory works (three lion heads, a statue of Apollo and an
eastern man) as if it was a sketch book.

The representation and the polularization
of the Myth and of the iconography of
Europa are tightly linked to the
rediscovery of the ancient world in
northern Europe from the XV c.
Img 14
The whole artistic style of the time
was affected by these ideas.
Through more frequent commercial
exchanges between North and
South distances are reduced and
cultures contaminate.
The development of the press and the habit of artists to travel through Europe
represent the opportunity to exchange and spread new themes and iconographies.
Very dynamic scene, Europa is sitting with an arm bend on the bull.

Title: The rape of Europe on the
bull
Author/ Artist: Andrea Briosco,
named Riccio – Frizzy? or
somebody of his entourage
Date: 1500
Location: Budapest,
Szépmûvészeti Museum
Type: Bronze Sculpture
Img 15
The fine making of the two figures
(young Europa and Jupiter in form
of bull) composing the sculpture,
separately cast, let think to an
artist with a goldsmith training.

The iconography is a unicum: it’s a
particularly dramatic and violent version of
the Myth.
Img 15
The girl looks very aggressive as in Orazio’s
version in one of his Odi - Carmina (Libro II,
ode XXV 9) (23 BC).
Europa is here represented after the rape in
Crete, very angry and threatening the bull
with a weapon in her hand, that was
originally part of the sculpture and today is
lost.
The author make a personal choice to recall
a literary source and a peculiar very
dynamic instant .

Author/ Artist: Francesco
Giovanni Rustici
Date: 1495
Location: London, Victoria and
Albert Museum
Typology: relief
Technique: glazed terracotta
Img 16
Very relaxed Europa on bull-
Jupiter, regarding each other.
She‘s in a playful pose.
Very natural and dynamic
setting, between the waves,
the wind and the clouds.

Title: Taurus (Aprile)
Artist: Giovanni Maria Falconetto (1468-
1535)
Date: 1520
Location: Mantova, Palazzo D’Arco, Zodiac
Hall
Client: Giulio dei Gonzaga di Feltrino
(Capodieci-Ilari)
Typology: wall painting
Tecnique: Fresco
Img 17
The context is a frame dedicated to
the astrological sign of the Taurus.
The rape of Europa is on the
background in a complex
interpretation scene where Jupiter is
represented four times.

In the foreground a white haired
figure with the beard on his back, a
small ram identified as a Pan, playing
the flute or syringe, with small horns
on his head, the goat Amaltea with
small Jupiter.
Img 17
The scene according to experts is a
clear reference to fertility and earth
abundance but especially breeding
fertility as Ovid states in the Fasti
regarding the month of April
dedicated to Venus Verticordia
(opening hearts).

Img 17
To the left Jupiter on an arch
identified with the Arch of Augustus
in Fano, is putting the bull in the sky
as a sign of gratitude to have let him
having Europa.
The idea is reinforced because of
different elements:
- the breeding goat,
- the ram drinking to a source with a
Priapus symbol,
- a couple of deers as a symbol of
lust
- the same bull in his generative
meaning, often associated to
sexual ardour.

Title: Europa’s life – Europa
sitting on the bull’s back
Artist: Bernardino Luini (1481-
1532)
Date: 1521-1523
Location: Berlin, Staatliche
Museen
Type: wall painting
Tecnique: Fresco
Img 18
Part of a series of thematic frescoes on the Stories of Europa commissioned by
business man Gerolamo Rabia for his residence in Milan by architect Cristoforo Solari.
The frescoes were seriously damaged through the centuries and at the beginning of
the XIX c. it was necessary to detach them. They were then sold.

It is therefore impossible to know the
original location in the building.
Img 18
Luini’s frescoes represent an
extraordinary exception in the pictorial
tradition regarding the Myth of Europa
in the XVI c. as well as in the previous
and following centuries.
It’s one of the first cases of picture of the Myth in a narrative sequence comprehending
more then one episode (see also e.g. Img 21) .

Title: Jupiter and Europa
Artist: Jacopo Robusti named
Tintoretto
Date: 1541
Location: Modena, Galleria Estense
Typology: Painting
Img 19
This oil on wood is part of thirteen
mythological pictures taken from
Ovid’s Metamorphoses during his
young years (1540 – 1541).
These pictures used to decorate the
ceiling of the palace of the client
Vittorio Pisani Earl of San Paterniano,
but in September 1658 Francesco I
d’Este bought them and they were
located in the new gallery.

The representation of the Myth is
reduced to the minimum, as if forced
inside the octagon:
Img 19
the girl is on the back of the bull and
looks at her maid holding in one hand
the crown made with plants.
Europa seems coming forward,
towards the vacuum, as to predict
her destiny .

Title: Rape of Europa
Artist: René Boyvin (1525-1580)
Date: post 1540
Location: Vienna, Albertina
Typology: burin engraving
Img 20
It’s the reproduction of an original fresco by
Rosso Fiorentino (1495-1540) located in the
Francis I Gallery (prototype for the gallery itself
and a showcase for the Renaissance in France)
in Fontainebleau.
The fresco representing the rape is the fresco
twin of Saturn and Filira; the two pictures are
located to the sides of the Elefante Reale,
allegory of strenght and prudence of Francis I.
The three scenes are connected on the idea of
unity between animal and goodness.

All frescoes have a double meaning, at a time
positive and negative: they represent negative
passions, but also positive passions of figures
that once transformed in animals generate
wise people: Europa and Jupiter as a bull
generate Minos, wise King of Crete; Fillira and
Saturn as a horse generate Chirone, centaur
and teacher of Achille .
Img 20
The picture of Europa naked has the most
ancient precedent in the mosaic of Aquileia
(see img 8)
The legs of Europa have a disordered posture,
the right one bend on the back of the bull, the
other one, extended on the side, as in the
precedent in Durer drawing (see img 14).

Title: Europa raped
by Jupiter
Artist: Giulio
Bonasone (1510 -
post 1576)
Date: 1546
Location: New York,
Metropolitan
Museum of Art
Typology: engraving
on wood
Img 21
The subject is taken from a sketch by Raffaello, not recalled among his known
works.
Bonasone accurately duplicates the scene, attaching to it a personal and original
mark due to his manual and creative ability.

Img 21
The scene is defined
simultaneous or
synchronic, because it puts
together on the same
paper different moments of
the Myth (see Img 18).
In the centre the moment when Europa puts a flower crown of the bull, made by
her maids, the animal is lying down to help the girl to climb on him;
to the left the three girls working;
in the back ground the bull swimming towards Crete .
Mercury is in the form of a shepherd and Neptune is in the sea

Artist: Andrea Meldolla, called Schiavone (1510/1515–1563) or Lambert Sustris
(1515-1591) Date: Second half of XVI
Century
Location: : Amsterdam, Rijksmuseum Type: Oil painting on canvas
Img 22
A small painting originally inserted in a frame together with another canvas depicting the
Myth of Nesso e Deianira (*) represents a very simple scene of Europa who, against her will,
is brought by sea by Jupiter-bull.
(*) dramatic Myth, Nesso is killed by Deianira husband Eracle and kills Eracle through Deianira
with a shirt poisoned with his own blood.

The work presents a typical venetian extraordinary naturalism
e.g. details as the bull’s eye almost human and the light foam of the see waves.
Img 22
The very upset girl looks back towards her friends calling her from the beach. She
holds herself tightly to the bull’s horns while her dress and hair are blowing in the air
because of the rapid movement of the bull, as in Ovid’s Metamorphoses.

Title: Rape of
Europa
Artist: Jean Cousin
il Vecchio (1526-
1593 ca.)
Date: 1550
Location: Blois,
Musée de Beaux-
Arts du Chateau
Type: Oil painting
on canvas
Img 23
Jean Cousin the old was a painter connected to the School of Fontainebleau - Ecole de
Fontainbleu (c.1530–c.1610, late Renaissance Mannerism) specialized in glass and engraving
painting with a very independent way of working – strong decorations and interest for Ancient
Culture.
The artist has always had a deep interest for the tales by Ovid - he was the illustrator of a
whole edition of the Metamorphoses in 1566.

The painting was originally in the Hotel de la Poste in Blois, destroyed in 1940.
Img 23
The episode of the rape is very common in French Renaissance and the landscape on the
background - with monuments inspired to the past.
In the scene, on one side Jupiter turned in bull swims with a garland of flowers, given by
Europa, around his neck; the girl is sitting with the wind blowing her hair, holding both horns.

Around them plenty of Eroti (little angels or winged spirits) (version of Luciano and Achille
Tazio) riding newt holding trumpets, plants and garlands.
Img 23
Such a serene image of the rape is probably due to the original function of the painting as a
decoration of a bedroom in the hotel and therefore celebrating the nuptial life.
Jean Cousin represents the climax of the bull’s ride, with Europa who isn’t scared at all but
very pleased by the Eroti’s parade.

Artist: Bernard Salomon
Date: 1557
Location: Bernard Salomon, La
Metamorphose d'Ovide figurée, Lione
1557, 178 p.
Client: Jean de Tournes
Typology: Engraving
Tecnique: blockprint – woodcut
Img 24
The book presents the main episodes of
Ovid Metamorphoses.
Each page is a concluded unity with an
ornamental frame containing an image
and a text:
inscriptio (brief description of the title),
pictura (image of one of the scenes from
the Metamorphosis) and subscriptio
(poetic description of the episode in the
pictura).

There is a very tight relationship
between text and image, a proper Picta
Poesis, where poetry is defined as a
talking painting and painting as a silent
poetry (Guthmuller, 1997).
Img 24
The text was very successful and was re-
edited in a revised and shorten version.
Salomon’s series was often forged in
Paris. The fake molds were reused out of
France as in the Tetraschica by Virgil Solis
(Cappelletti, 1997).
The peculiarity of Salomon depends on
the narrative character based on a single
theme.

Img 24
Europa and the bull are travelling by sea
towards Crete, in the background. On
the left there is Agenore (King of Tyre-
Tiro - Lebanon, Europa’s father) ’s bulls
herd by the beach.
In the foreground the girls of Tyre
worried for the rape.
The rape of Europa is represented
moving from left to right, in the classical
position with a hand on a horn and the
other on the back of the animal with the
dress blowing and the feet suspended
not to wet (e.g.Img 10);
The image matches the description of
the rape in the Metamorphoses, and in
the Ovide figureè.
The girl Europa is represented with a
more melancholic mood, for a not too
dramatic scene – see the veil in an arch.

Artist: /
Date: Second half of XVIth century
Location: Pesaro, Museo della
Ceramica
Typology: Ceramic plate
Tecnique: Majolica (diam. 27,5 cm)
Img 24a
Partially inspired by the engraving
illustrating the Rape of Europa in La
Metamorphose d'Ovide figuré (Img
24), 1557 by B. Salomon,
this ceramic, as well as the other
one kept still in Pesaro (Img 24b),
shows the tight relation between
this type of decorations and the
contemporary print illustrations.

Salomon represents a precedent only
regarding the central figure of Europa
sitting on the bull:
although the bull and Europa are still not
in the water, the pose and some details,
as the blowing veil on the girl’s head,
clearly recall the main group in the well-
known engraving.
Img 24a
On the left there are the maids of
Europa, to the right a shepherd, perhaps
Mercury,
while on the background, far away, the
moment of the proper rape is
represented with Europa brought away
by Jupiter-bull.

Img 24b Title: Rape of Europa
Artist: atelier Fontana
Date: 1560-1570
Location: Pesaro, Museo della
Ceramica
Typology: Ceramic plate
Tecnique: polychrome painting (16,5
cm ø)
The subject of the rape is clearly
written on the back of the plate.
Also this scene presents an
undeniable reliance on the
engraving by Salomon (Img 24)
La Metamorphose d’Ovide figureè,
1557.

The plate dates after 1557, but before
1575 (Polidori, 1956).
Img 24b
The scene develops from left to right
and the composition faithfully recalls
Salomon’s work.
The reproduction of Salomon engraving
highlights once more the luck and
diffusion of it.
To notice the difference compared to
the original is in the more detailed
representation of the city in the
background, the island of Crete.

Artist: Tiziano Vecellio (1488/90-
1576)
Date: 1559-1562
Location: Boston, Isabella
Stewart Gardner Museum
Client: Filippo II
Type: Oil painting on canvas
Img 25
Among the works for Filippo II
defined by the painter ''poetry’’,
together with Perseo che libera
Andromeda. Sent to Madrid in
April 1562.
The composition of the canvas is very original: the young Princess is lying down in
an unseemly position while being raped and brought away by the bull in the water;
in the background the maids are crying, on the foreground three angels, two in the
sky with bow and arrows and the third on a dolphin as if chasing the bull.

There are different theories on the sources
used:
Hilliard Goldfarb (1998) sees in Jupiter-bull
king Philip II bringing Europa in the New
World;
Img 25
Karinne Simmoneau (1999) interprets
Europa as the personification of the
Republic of Venice protected by Filippo II
against the Turkish, represented by the fish
among the waves.
Shapiro (1971) quoting the text of Horace
on Europa, mantains that the three angels
and the monstrous fish around the girl
represent passions condemned by stoic
philosophy: happiness (the angel on the
dolphin), desire (the angel with the arrows),
fear (the monstrous fish) and pain (the
angel with the arch, ancient symbol of
torture).

Artist: Taddeo Zuccari (1529-1566)
Date: 1563-1564
Location: Caprarola, Palazzo Farnese,
piano nobile, Winter apartments
Client: Alessandro Farnese (1520-
1589)
Typology: wall painting
Tecnique: Fresco
Img 26
Future pope Paolo III, buys in 1504
the land of Caprarola as the base of
his ideal family domain.
The palace is by Antonio da Sangallo and Vignola, example of Renaissance
Architecture and the decoration is by the brothers Taddeo and Federico Zuccari,
while the iconographic program was committed to three humanist man, Annibal
Caro, Panvinio and Fulvio Orsini – Full artistic and cultural project.

The Villa is divided in two zones: the Winter
(private life) and Summer (public activities)
apartments.
Img 26
The image is simple and straightforward, without any redundant element – very calm
atmosphere. Important relationship between the Cardinal and Jupiter stories told
in the room frescoes – celebration of Jupiter.
The Summer apartments were decorated in
the '60s of XVI c. with subjects connected to
the single rooms functions;
The Winter one were destined to
representative activities and presents a
topographical iconography connected to the
places where the Farnese family was ruling.
In this part of the Villa there is the Room of
Jupiter where in a fresco two colour medallion
is represented beautiful Europa while putting a
garland on the bull’s horn where she’s nicely
sitting.

Artist: Martin de Vos
Date: 1572
Location: Bilbao,
Museo de Bellas Artes
Typology: Marble
sculpture
Tecnique: relief
Img 27
According to Alessandra
Baroni (Il mito di
Europa, 2002, pp. 89-
90) a new wave of nude
figures is more and
more common in the
second half of XVI c. in
the Netherlands.
The nude figures loose their heroic attitude derived from roman sculptures towards
a more soft, languid and sensual line (Img 8, 20).

Europa is not anymore portrayed as
an innocent girl, but more as a
mature woman in her full femininity
and sensuality.
Img 27
The foreground is completely
occupied by Europa raped by the
bull; the girl’s pose, sensually layed
down on the bull, will be recalled
some years later by Jean Boulogne -
Giambologna (Img 28) (Fontana
dell’Oceano, Giardino di Boboli,
Florence) (see also Img 16).
To be noticed the flower garlands
around the bull to recall the
moment previous to the rape,
when Europa adorns the bull’s
muzzle with flowers.
In the background Europa’s maids are desperate, while Mercury, Jupiter accomplice, is in the
sky surrounded by small angels holding darts, Jupiter’s attribute.

ROMA
Title: The rape of Europa
Artist: Jean Boulogne named
Giambologna (1529-1608)
Date: 1600
Location: Roma, Museo di
Palazzo Venezia
Typology: Sculpture (32,6 cm)
Tecnique: Bronze cast
Img 28
The small bronze sculpture is
not registered and there are no
news about the client. Probably
the work is associated to the
group of Nesso and Deianira,
another Myth about the lover
rape.
The event of Europa is not completely extraneous to the Flemish artist.
He already, in 1575, had inserted the subject in a marble bas-relief at the base of
the Fontana di Oceano, in the Giardino di Boboli in Florence.

ROMA
The composition presents
Europa on the back of a
running bull unstable on his
back paws:
the girl holding a horn is
sitting herself in an unstable
pose unbalanced by the
violence of the jump of the
animal, with her head back
and her look to heaven as to
look for salvation.
Img 28
The dramatic pose of the raped Princess and her fight against the kidnapper
recalls many works where she flails and tries to free herself (Img 8, 16, 25, 27).

Artist: Paolo Caliari, named
Veronese (1528-1588)
Date: 1580
Location: Venezia, Palazzo
Ducale
Client: Jacopo Contarini
Img 29
Ordered for the Contarini
family residence Palace in S.
Samuele by Jacopo.
Donated to the Serenissima
at the death of Samuele in
1713, it was placed in one
of the rooms of the Palazzo
Ducale.
In 1797 the painting was moved to Paris by french
troops, and only at the beginning of XIX c. it was
given back to Palazzo Ducale.

The theme is again the one in the
Metamorphoses of Ovid.
The painter has focused on the
courtship of the girl by the bull
differently than usual.
Img 29
Four maids attend to the event,
two are arranging the Princess’s
rich dresses as if she was leaving on
a honey moon, the other two are
picking nuptial garlands given by
the angels; the dog could be
interpreted as a symbol of
marriage loyalty.
The love atmosphere of the scene is stressed by the physical intimacy of the couple: while
Europa is sitting on the bull’s back, the bull is kissing her foot (see Ovid’s text) – richness of
details and complexity of the subject.

ROMA
Artist: Paolo Caliari,
named il Veronese (1528-
1588)
Date: 1580
Location: Rome,
Pinacoteca Capitolina
Client: Jacopo Contarini
(1536-1595)
Technique: Oil painting
on canvas
Img 30
Second version of the
same subject.
Three moments of the
Myth are represented (see
also Img 18,21).
On a hillock with trees, and a white Pyramid – classical reference – Europa, in the foreground,
is sitting on the back of the bull gently touching her foot (original iconographic detail,
invented by the artist freely interpreting literary sources: kisses on the girl’s hands by the bull).

ROMA
Around the girl there are
the maids intent to
accomplish activities
related to marriage.
The erotic tension (details
as the naked breast) is
therefore softened.
Img 30
A girl is arranging Europa’s dress, another one is decorating her cleavage with a
jewel, the last two girls are picking flower garlands falling from the angels hands
flying in the upper part of the composition.

ROMA
In the foreground the
presence of the Erote –
Cupid keeping the bull
through the reins and the
small angel with a torch
conducting the bull to the
sea in the second scene,
are clear reference to the
literary source of Amori di
Leucippe e Clitofonte by
Achille Tazio.
Img 30
Finally in the background Europa is represented already in the water with the bull,
turned to her maids asking for help, another .

Artist: Hendrick Goltzius
(1558-1617)
Date: 1590
Location: /
Committenza: /
Typology: Print
Technique: Engraving
(168 x 250 mm)
Img 30a
There are three series of engravings: in 1589 by G. own atelier, 1590 (with poetry by Franco
Estius), in 1615.
The engravings were inserted in Bernard Salomon’s Metamorfosi di Ovidio (Strass, 1982).

The picture is very dramatic.
The sea is rough and the
protagonists are excited and
dynamic.
Img 30a
On the background of the
composition a previous moment
of the Myth is represented (Img
30, 21, 18):
Mercury, brings away the bulls
herd to the beach as told by
Jupiter in the Metamorphoses by
Ovid and recalled by other
authors in the Renaissance.
Jupiter is on a cloud together with an eagle, one of his typical attributes.

ROMA
Artist: : Giuseppe Cesari, detto il
Cavalier d’Arpino (1568-1640)
Date: 1603-1606 (Röttgen)
Location: Rome, Galleria Borghese
Img 31
The canvas although dated by Tosini
(Cieri Via, 1996) in the ‘90s of XVI c.,
according to Röttgen (2002), for
stlystic affinity with coeval works,
was probably realized between 1603
and 1606.
It must have been bought or even
ordered (see Mythologica…, 2005)
by Scipione Borghese directly from
the painter.
First certain news about its presence
in the family collection in 1650
(Manilli).

ROMA
The painting depicts the moment of the
rape according to the text by Angelo
Poliziano (1454-1494, poet, humanist
and playwright ).
Img 31
Europa, sitting on a side on the back of
the bull is looking at her scared friends.
She‘s represented with a cloak and the
dress blowing in the wind while holding
herself to a horn of the bull; the other
hand is embracing the neck of the
animal as told in Ovid’s Fasti.
The dark grey colour of the bull is
detaching from Ovid’s description and is
original compared to any other artistic
and literary source.
But the white spot on the muzzle is
mentioned by Mosco (II sec. B.C.).

ROMA
To the top left Cupid, while riding an eagle
and shooting an arrow towards the
protagonists of the Myth: symbolic
allusion to the love of Jupiter for Europa,
but also reference, to the Borghese family
heraldic symbol - the eagle (Kristina
Herrman Fiore, Mythologica…, 2005) - a
reason more to think to a direct order to
the painter by Scipione.
Img 31
In the background to the right, behind the
group of desperate girls, a shepherd,
probably Mercury, walking the herd away.
Patrizia Tosini (Cieri Via, 1996) interprets as
the model of the composition the
engraving by Goltzius, 1590 (Img 30a)
where although Cupid is Jupiter and there
is a general more open composition.
K. Herrman Fiore (2005), sees the similarity
to an ancient relief once inserted on the
façade of the Villa Borghese.

Artist: Pieter Paul Rubens (1577-
1640)
Date: 1628-1629
Location: Madrid, Museo del Prado
Client: Filippo IV di Spagna (1605-
1655)
Technique: Oil painting on
canvas(120 x 109 cm)
Img 31a
We know that Rubens 25 yrs before (1603) had seen the canvas of the venetian master
during a period in Spain.
This canvas is the exact copy,
together with the one with of the
one with Diana e Callisto, realized
by Tiziano (Img 25 – 1559) for King
Philip II.
Rubens shows his deep knowledge of Tiziano’s work in each detail.

Img 31a
The flemish painter was also very well
educated on classical culture and had
a direct knowledge of the Classic
Literature, perhaps even the
Metamorphoses.
This helped to face the work on
mythological themes.
Different technical aspects:
- canvas in Flandre fabric
- a clear-grey ground colour giving
to the painting a more background
cold tone in contrast with a series
of warm colours

Img 31a – 25
RUBENS – 1628 TIZIANO – 1559

Artist: Erasmus Quellinus (1607-
1678)
Date: 1636-1637
Location: Madrid, Museo del Prado
Client: Filippo IV di Spagna (1605-
1655)
Technique: Oil painting on canvas
Img 32
Erasmus Quellinus was a flemish
painter who worked in Rubens’
atelier.
The painting used to be in the Real
Academia di San Fernando in Madrid
but originally was realized for the
decoration of the Tower of the Parada,
hunting pavillon for Philip IV of Spain.

Img 32 The ornamental program is centred on
stories on divine love. It was commited
to Rubens who realize mainly drafts
inspiring himself to Ovid’s
Metamorphoses.
The development of the paintings was
made by pupils and partners among the
others Jacob Jordaens, Cornelis de Vos,
Erasmus Quellinus.
The scene represents the moment when
Europa turns back to the beach, the
right hand is on the horn and the dress is
blowing in the wind.
Static pose, except for the wind in the
the dress and hair.

Artist: Guido Reni (1575-1642)
Date: 1638-40
Location: London, collezione Denis
Mahon. the National Gallery
Client: Vladislao IV Vasa, king of
Poland
Technique: Oil painting on canvas
Img 33
This is Reni’s third version of the
Rape of Europa
(1632-35 for king Charles I of
England, lost, known only through
engravings;
another one for the collector don
Diego Felipe de Guzman, today in
Milan; the third one is probably a
variation of the second one today in
the Hermitage in S. Petersburg).

Img 33
The work is focused on the central
group, leaving the landscape context
on the far back. The bull, decorated
with a garland, is swimming but
seems lifted up compared to water
level. Europa also looks suspended on
the water.
The central moment of the Myth
had been already repeated and
codified by artistic traditions a very
successful theme among the clients.
The winged angel, interpreted as Eros
(arch and arrows), crosses his glance
with Europa.
Reni stresses the girl’s enchanted,
ecstatic, and mystical expression.
Coherently she turns her look up and
not back to her maids as told by the
literary sources.

Img 33
It’s interesting to notice the
position recalling the Santa
Cecilia by Raffaello (Img 33a), an
intense iconographic parallel in
forms and meaning of the classic
Myth and the Christian values
connected to the rape of the soul
towards God to reach celestial
beatitude.
Reni mixes and transforms sacred and
profane in a sort of well done allegory
of the salvation of human soul.

Title: Ecstasy of Santa Cecilia
Artist: Raffaello (1483-1520)
Date: 1514
Location: Pinacoteca Nazionale,
Bologna
Technique: Oil painting on wood
transferred on canvas canvas
Img 33a

Img 34 Title: Rape of Europa
Artist: Bernardo Strozzi
(1581/82-1644)
Date: 1640-1644
Location: Poznan (PL),
Museum Narodowe
Type: Oil painting on
canvas
One of the more extimated
works by Strozzi in Venice. It
belongs to the Raczynski
collection (catalogue, 1841).
It’s a late production of the artist (around 1640 – 1644), as shown by the reference
to the great XVI c. tradition.
In particular the inspiration is Paolo Veronese’s work (Img 29-30), as demonstrated
by the theme of the raped heroine by Jupiter - bull, justification for a debunk novel
and lightly erotic.

Img 34
The white dog, bottom to left, the
group of angels and the look of
Europa towards them recalls
Caliari-Veronese.
Finally the Princess is not stable on the back of the
bull that prances towards the exterior of the picture as
to invade the spectator space, giving more impulse to
the movement of the animal.
While the senxual and erotic
character of the raped girl recalls
the painting by Veronese in the
Galleria Capitolina (Img 30), also
known through plenty of replicas.
Despite the figurative reference
the moment of the episode is not
the same.
Here the proper moment of the
rape is represented: Europa is
being transported towards the sea
by the bull and turns towards the
maids while four angels surround
her.

Img 29,30
STROZZI, 1640 -1644, Poland
1580, Rm – 1580, Ve - PAOLO CALIARI - VERONESE

Title: Landscape with rape of
Europa
Artist: Claude Gallée, named
Lorrain (1600-1682)
Date: 1655
Location: Mosca, Pushkin
Museum
Client: papa Alessandro VII
Chigi (1655-1667)
Technique: Oil painting on
canvas
Img 35
The context of the mythological scene is an extraordinary natural landscape view
with an elegiac atmosphere.
The artist develops the mythological theme as a justification to treat and to
celebrate the marine landscape, true protagonist of the canvas.

In the centre young Europa,
has climbed on the bull
adorned with garlands.
The girls to the left, are
probably working the same
garlands.
Img 35
Jupiter is bringing Europa to
the sea, accompanied by two
maids: the parade is clearly
moving as the blowing
dresses suggest.
This detail is taken from the
literary sources as well as
from the figurative tradition
that in ‘600 tend to represent
the popular scene in a
standardised way (recall of
some classical elements: girl’s
position on the bull and/or
the veil blowing in the wind).

But here, as in other pictures,
the same details are
represented in the moment
when the girl is still on the
land, differently from the
literary sources.
Img 35
To the right there are bulls
grazing, perhaps the herd
looked after Mercury-
shepherd.
There are also more human
figures some lying in the
shade of the beeches recalling
Virgil (70-19 BC.)’s bucolic
verses (Bucoliche, 38 BC.).

ROME
Artist: Mattia Preti (1613-1699)
Date: 1640-66
Location: Rome, Galleria
Pallavicini
Client: Filippo III Colonna
Tecnique: Oil painting on canvas
Img 36
This painting was part of a series
of works dedicated by the
painter to love rape by gods.
It was ordered by Filippo III
Colonna for the marriage of
Margherita Colonna with the
Duke Giulio Cesare Rospigliosi.

ROME
The scene shows the proper
instant when Europa is raped and
brought to the sea by the bull-
Jupiter.
Img 36
The girl, sitting on a side, holds
with her left hand a horn while
above her there are two angels
flying, recurrent motif of the XVII
c. figurative tradition.
The scene is completed by the
maids as witnesses of the rape,
who in vain try to pull the bull’s
tail.
Moreover the bull is pulled in the
sea by one of the angels by the
horns – very dynamic and excited
scene.

Artist: Guido Cagnacci (1601-
1663)
Date: 1650
Location: Marano di Castenaso
(Bologna) , Collezione Molinari
Pradelli
Tecnique: Oil painting on canvas
(115,5 x 94,5 cm)
Img 37
This painting seem to have as a
model the work by di Guido
Reni (Img 33) adding more
sensuality to scene, inspired by
northern artists as Goltzius (Img
30a).

Img 30a – 33
RENI – 1638 GOLTZIUS – 1590

This peculiar interpretation of
the story of Jupiter and Europa
is the strong sensual attitude, a
unicum compared to the
iconographic tradition of the
Myth
Img 37
Europa is the absolute
protagonist of the picture
represented as a proper classic
heroine:
hair blowing in the wind, the
light dress leaving her breast
uncovered, her inspired
attitude, sitting on the bull,
with a domesticated look,
adorned of roses (the same on
her dress).

Theme as opportunity for technical experiments:
Modern style, very far from traditional academic pattern.
Img 38
Artist: Valentin Serov
Date: 1910
Location:
Tecnique: Oil painting on
canvas
Very peculiar geometric diagonal movement composition, very high horizon line: Elongated
forms to stress dynamism.
Even the horizon is on movement, with moving waves and the dolphins accompany the
movement of Zeus for a stronger dynamism.
Experimental work also on colours: red bull and special blue-violet colour for the see, very
expressionist. Flower motifs and simple shapes recall Liberty Style.

Theme as opportunity for
technical experiments for all
artists.
Simple signs, close to Cubism.
Img 39
Artist: Henri Matisse
Date: 1929
Location: National Gallery of
Australia, Canberra, Australia
canvas

Contemporary times have seen the representation of the Myth reflecting political
and cultural changes of the continent.
In the period between the wars the Myth has been repudiating fascist movements
and their attempt to rape Europa, intended as bloody conquest of the continent
imposing the image of a white and “Aryan” Europa.
More recently the Myth has represented new European unity and the integrated
idea of eastern and western territories, separated by the Cold War in the 50’s.
There are Europes exhibiting stars in a circle representing many nations and different
flags.

1933: year of Hitler’s conquest
of power in Germany
Artist: Max Beckmann
Date: 1933
Location:
canvas
Max Beckmann presents
Europa laying down on a dark
bull, dark as the Nazi shirt
(symbol of power and
arrogance) and expressing the
cry against violence on her face.
So called “degenerated artist”

Critique of war and violence,
the bull is black and full of red
blood
Img 40a Title: Rape of Europa
Artist: Hugo Claus (1929-2008)
Date: ?
Location:
Tecnique: Paint on paper

Art sustaining and celebrating
polical movements.
Img 41 Title: Aryan Europa
Artist: Werner Peyner
Date: 1937
Location:
canvas
Europa is blonde and Aryan.

Propaganda subject:
two bulls represent the two
continents, Africa (black) and Europa
(red, referring to French Socialism) –
wearing a fashionable hat.
Artist: Arthur Johnson
Date: 1935
Location:
Tecnique: Drawing for a magazine
cover
Reference to Mussolini who has
sacrificed some of his positions in
Europe for his interests in Ethiopia.

Celebration of
political and cultural
unity.
Artist: /
Date: /
Location:
Typology: Print
The geographical map
of Europe represents
the background of
the group Europe and
the bull, almost static,
triumphal,
celebrating the
continent and unity –
dress with flags and
symbols.

Celebration of political and
cultural unity
Img 44
Artist: /
Date: 2000
Location:
Typology: Coin
Dynamic trip, adventure,
projection to the future?

Great today social and cultural
transformations have brought
to representations where
Europa is not anymore a victim
or acquiescent.
Img 45
Artist: Ursula
Date: 1987
Location:
canvas
Here Europa in the center of
the image, acts as the
protagonist. At the same time
her hairstyle, the bull’s pattern
and the context recall a world
where the exotic is mixed to
the global world and Europa is
not anymore the center of the
planet.

In 2006, after having focused
exclusively on the Abu Ghraib
series for over 14 months,
Botero returned to the
themes of his early life such as
the family and maternity, and
Europe - basic themes .
Img 46
Artist: Fernando Botero
Date: 2007
Location:
Tecnique: Bronze sculpture

Same cultural movement is at the base of international, extra-european representations
from Japan to Latin America.
New symbol of universality, free interpretation through single cultures spread around the
world in a world where many people have moved to Europe as in the past they moved from
Europe to the New World.
Interesting cultural hybrids
Europa is not scared to move from eastern to western lands to discovered new worlds
bringing a new culture.
Its figure reminds us that people have always transmigrated and that people movements
always bring important exchanges and cultural and social innovation.

http://www.inos.it/ mainly
http://www.treccani.it/scuola/tesine/viaggio_e_mito/15.html
Luisa Passerini, Il mito d’Europa. Radici antiche per nuovi simboli, Firenze,
Giunti, 2002.
BIBLIOGRAPHY

Myth of EUrope in art

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