Pompeo Girolamo Batoni – Batoni. Diana and Cupid (1761)
На эту операцию может потребоваться несколько секунд.
Информация появится в новом окне,
если открытие новых окон не запрещено в настройках вашего браузера.
Для работы с коллекциями – пожалуйста, войдите в аккаунт (open in new window).
Поделиться ссылкой в соцсетях:
You cannot comment Why?
At her feet lies a diminutive winged figure, presumably a child, who appears to be attempting to offer her a quiver full of arrows. The boy’s expression is one of playful earnestness, his body angled towards her in an almost supplicating gesture. This interaction introduces a dynamic tension between the womans serious demeanor and the child’s innocent offering.
To the left of the central figures, a hunting dog stands alert, its gaze directed outwards, suggesting vigilance and readiness. The landscape behind them is rendered with a softened focus, depicting rolling hills and scattered trees under a muted sky. This backdrop establishes a sense of pastoral tranquility that contrasts subtly with the potential for action implied by the drawn bow.
The subtexts within this work are layered. The woman’s posture and attire evoke associations with chastity, hunting prowess, and perhaps even divine authority. The presence of the child Cupid introduces themes of love, desire, and the vulnerability to emotional influence that even powerful figures possess. The dog reinforces the theme of loyalty and guardianship. Overall, the painting explores a complex interplay between duty, power, innocence, and the ever-present possibility of disruption from forces beyond ones control. It is likely intended as an allegory for navigating the challenges of maintaining virtue in the face of temptation or external pressures.