A New Take on the Iconic Girl Reading a Letter by Vermeer
The recently restored Girl Reading a Letter at an Open Window by Johannes Vermeer (1632-1675) is often said to be that of a young woman reading a...
Tom Anderson 26 September 2024
According to Greek Mythology, Orpheus was a singer, musician, and poet. Therefore, he was often depicted in paintings and sculptures, singing in Thracian dress (traditional Greek clothing for that region). As the tale goes, Orpheus had the sweetest singing voice, and wild beasts would follow him while plants would bow down. This legend was depicted through art, along with other stories of his life. Here are three well-known paintings of Orpheus showing his talent, love, and death.
The story of Orpheus is a mythological tale that is most commonly told by the poet Ovid in his book Metamorphoses. Orpheus is known for playing the lyre and even inventing the kithara by adding a number of strings to the lyre. Therefore, typically, Orpheus is depicted playing the lyre, but in Roelandt Savery’s painting from 1628, the artist depicted him with a violin. The painting is currently on display at The National Gallery in London.
At first glance, the painting seems like an overwhelming amalgamation of magical creatures. It’s filled with dark, misty colors of blue and green. In the foreground, we see animals from both mythology and real life. The only person shown in the painting is Orpheus, who sits playing the violin. However, Savery’s landscape also includes “natural music,” such as animals, streams of water, and the wind in the trees, which contrasts sharply with Orpheus’s tale.
Savery made other paintings similar to Orpheus. At the time, the stories of Greek and Roman gods and goddesses were loved by the court and patrons.
A few years later, Orpheus was painted by Peter Paul Rubens and his workshop. In Orpheus and Eurydice, Rubens paints the famous myth of Orpheus traveling to the underworld to save his wife, Eurydice. According to the myth, Eurydice (a daughter of Apollo) was bitten by a snake and died. Orpheus was so distraught that he went down to the Underworld and pleaded for his wife’s return. He was able to convince the gods through his musical talent of playing the lyre to let his wife live.
Rubens depicted this scene showing Orpheus agreeing to Pluto and Proserpine’s conditions—that Orpheus may not look at Eurydice until they have left the Underworld. As shown in the painting, Orpheus unfortunately looks at his beloved in fear that the gods have lied to him.
Although the tale has a sad ending, the painting is well-balanced through the composition of the four figures. Rubens created a beautiful work of art that feels like a fairytale, where Eurydice is glowing like an angel. Rubens was also influenced by sculptures from antiquity when painting the figures.
Gustave Moreau painted a more recent depiction of Orpheus called Thracian Girl Carrying the Head of Orpheus on His Lyre. The painting shows the death of Orpheus, which is a fitting end to this series. According to one of the stories, Orpheus’ music charmed the Maenads with his music and when he rejected their advances, they ripped off his head.
Moreau shows this moment with a woman dressed in Oriental finery, holding Orpheus’s head on his lyre. We don’t know who she is, really. According to the Musee d’Orsay’s website, the painting reminds one of a playing card, through the composition of the musicians in the top left corner and the turtles in the bottom right—according to the myth their shell was used to build the first lyre.
But what makes this painting unique is the stark contrast between the brutal death and the serene landscape in the background. Even both of their faces have a peaceful expression, creating an idyllic painting. Since Orpheus was known for his charming music, perhaps the artist wanted to show how, even in death, he can instill a calm attraction.
Pierre Grimal, The Dictionary of Classical Mythology. Blackwell, 1987.
Laurie Schneider Adams, Art across Time, Vol. 1 Prehistory to the Fourteenth Century. McGraw-Hill College, 1999.
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