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The Rape of Europa is a painting by the Venetian artist Titian, painted ca. 1560–1562. It is in the permanent collection of the Isabella Stewart Gardner Museum of Boston, Massachusetts. The oil-on-canvas painting measures 178 by 205 centimetres (70 in × 81 in).[1]

The Rape of Europa
ArtistTitian
Yearca. 1560–1562
MediumOil on canvas
Dimensions178 cm × 205 cm (70 in × 81 in)
LocationIsabella Stewart Gardner Museum, Boston

Subject


The title of the painting refers to the mythological story of the abduction of Europa by Zeus (Jupiter to the Romans).[1] In the myth, the god assumed the form of a bull and enticed Europa to climb onto his back. Once there, the bull rode into the sea and carried her to Crete, where he revealed his real identity. Europa became the first Queen of Crete, and had three children with Zeus.

Although the source of Titian's inspiration is thought to have been based on the scene from Book II in Ovid's Metamorphoses, a more direct influence might be a description of a painting of the rape of Europa found in Achilles Tatius's novel, Leucippe and Clitophon. Achilles Tatius's novel was translated into Italian and printed in 1546 in Venice, only a few years before Titian was thought to have painted The Rape of Europa.[2] Achilles Tatius's description of the dolphins, Europa's scarf, a Cupid, Europa's covering, and "her position on the back of the bull—not with a leg on each side but with her feet on the bull’s right side and her left hand on his horn" is echoed in Titian's portrayal of the same scene.[3]


Description


Titian is unequivocal about the fact that this is a scene of rape (abduction): Europa is sprawled helplessly on her back, her clothes in disarray.[4] The painting depicts Europa on the back of the bull, just off the shore of her homeland. Although the act of sexual violence is not depicted in the painting, it is implied through Europa's open-legged posture and her expression of fear as she is dragged off by Zeus.[5] Her danger is also implied by her waving a red silk scarf and by the sea monster in the foreground of the painting.[6] In other parts of the painting, two putti in the sky chase after Europa, and one rides on a dolphin in the sea.[6]

Yael Even has theorized that Titian could have created this painting not due to any particular attachment to the subject, but in order to assert his abilities as a painter.[7]


Provenance


The painting was one of the "poesie" painted by Titian for Philip II of Spain. With Diana and Callisto and Diana and Actaeon, both now shared by London and Edinburgh; it was one of three Titian poesie given by Philip V of Spain to the French ambassador, the Duke of Gramont, who in turn presented them to Philippe II, Duke of Orléans, Regent of France from 1715 to 1723.[8] For most of the 18th century it was in the Orleans Collection in Paris.[9] It was purchased by Bernard Berenson on behalf of art collector Isabella Stewart Gardner in 1896.[10]


Titian's poesie series for Philip II



Exhibitions


The painting was included in the 1857 Manchester Art Treasures exhibition.[11] From August 12, 2021, to January 2, 2022, the Isabella Stewart Gardner Museum displayed all six Titian poesie in an exhibit titled Titian: Women, Myth & Power.[12] It was the first time since the 16th century that the six paintings were physically united.[13]


Further reading



References


  1. "Europa". Isabella Stewart Gardner Museum. Retrieved 20 August 2014.
  2. Stone, Donald (1972). "The Source of Titian's Rape of Europa". The Art Bulletin. 54 (1): 47–49. doi:10.2307/3048932. ISSN 0004-3079. JSTOR 3048932.
  3. Stone, Donald (1972). "The Source of Titian's Rape of Europa". The Art Bulletin. 54 (1): 48. doi:10.2307/3048932. ISSN 0004-3079. JSTOR 3048932.
  4. Stephen J. Campbell, "Europa," in Eye of the Beholder, edited by Alan Chong et al. (Boston: ISGM and Beacon Press, 2003): 103–107.
  5. Eaton, A.W. (2003). "Where Ethics and Aesthetics Meet: Titian's Rape of Europa". Hypatia. 18 (4): 161. doi:10.2979/HYP.2003.18.4.159. JSTOR 3810979 – via JSTOR.
  6. "The Rape of Europa | Isabella Stewart Gardner Museum". www.gardnermuseum.org. Retrieved 2020-10-26.
  7. Even, Yael (2001). "Commodifying Images of Sexual Violence in Sixteenth-Century Italian Art". Source: Notes in the History of Art. 20 (2): 16, 17, 18. doi:10.1086/sou.20.2.23206799. JSTOR 23206799. S2CID 192994296 – via JSTOR.
  8. Brigstocke, Hugh. Italian and Spanish Paintings in the National Gallery of Scotland, p. 183, 2nd ed., 1993, National Galleries of Scotland, ISBN 0-903598-22-1
  9. FitzRoy, Charles. The Rape of Europa: The Intriguing History of Titian's Masterpiece, London: Bloomsbury, 2015, ISBN 9781408192092
  10. Saltzman, Cynthia (2008). Old Masters, New World: America's Raid on Europe's Great Pictures, 1880-World War I. Viking. p. 77. ISBN 978-0-670-01831-4.
  11. Hamilton, James (2015). A Strange Business. New York, NY: Pegasus Books. p. 325. ISBN 978-1-60598-870-2.
  12. Titian: Women, Myth & Power
  13. Smee, Sebastian, "Titian Comes Together," The Washington Post, August 19, 2021, updated August 21, 2021

На других языках

- [en] The Rape of Europa (Titian)

[es] El rapto de Europa (Tiziano)

El rapto de Europa es una pintura del artista italiano Tiziano, pintado ca. 1560–1562. Se encuentra en la colección permanente del Museo Isabella Stewart Gardner de Boston, Massachusetts. Es un gran óleo sobre lienzo de 178 por 205 cm.[1]

[fr] Le Rapt d'Europe (Titien)

Le Rapt d'Europe est une peinture à l'huile de 178 × 205 cm réalisée par Titien en 1562, à la demande de Philippe II d'Espagne. Elle est conservée au musée Isabella-Stewart-Gardner à Boston, aux États-Unis.

[it] Ratto di Europa (Tiziano)

Il Ratto di Europa è un quadro dipinto da Tiziano tra il 1560 e il 1562, su commissione di Filippo II di Spagna.

[ru] Похищение Европы (картина Тициана)

«Похищение Европы» (итал. Il ratto di Europa) — картина итальянского живописца Тициана Вечеллио, одного из крупнейших представителей венецианской школы. Создана между 1560 и 1562 годами. С 1896 года хранится в коллекции Музея Изабеллы Стюарт Гарднер в американском Бостоне.


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