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Olympia seduced by Jupiter, Polyphemus guarding Acis and Galatea, Pasiphae entering the cow constructed by Daedalus, from the Sala di Amore e Psiche, 1527-31 (fresco) (post restoration)
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Olympia seduced by Jupiter, Polyphemus guarding Acis and Galatea, Pasiphae entering the cow constructed by Daedalus, from the Sala di Amore e Psiche, 1527-31 (fresco) (post restoration)
ALG154704 Olympia seduced by Jupiter, Polyphemus guarding Acis and Galatea, Pasiphae entering the cow constructed by Daedalus, from the Sala di Amore e Psiche, 1527-31 (fresco) (post restoration) by Romano, Giulio (1492-1546); Palazzo del Te, Mantua, Italy; (add.info.: hollow cow made so Pasiphae could approach the bull which Poseidon had made her passionate for; wife of Minos, king of Crete; )
Media ID 25462338
© Bridgeman Images
Bare Bestiality Cupid Dedale Erotic Galatee Mannerist Polypheme Psyche Seduction Lovers Myths Pagan Paganism Pagans Polytheism Polytheist Semi Nude
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This fresco, titled "Olympia seduced by Jupiter, Polyphemus guarding Acis and Galatea, Pasiphae entering the cow constructed by Daedalus" transports viewers into a world of mythological intrigue. Painted by Giulio Romano between 1527-31 and recently restored to its former glory, this masterpiece adorns the walls of the Sala di Amore e Psiche in Palazzo del Te, Mantua. The scene is filled with an array of mythical characters entangled in their own tales. In the foreground, we witness Olympia being seduced by Jupiter himself while Polyphemus stands guard over Acis and Galatea. The intricate details showcase Romano's mastery as he captures each figure's emotions and expressions flawlessly. One cannot overlook Pasiphae entering the hollow cow created by Daedalus; a symbol of her insatiable passion for a bull that Poseidon had enchanted her with. This particular episode sheds light on Pasiphae's role as Minos' wife and her involvement in Greek mythology. Romano's work beautifully blends elements of eroticism, mythology, religion, and paganism. The painting exudes sensuality through its depiction of nudity and semi-nudity while simultaneously exploring complex themes from ancient myths. Commissioned by the Gonzaga family during Italy's Mannerist period, this artwork showcases Romano's unique style characterized by elongated figures and exaggerated poses. As we gaze upon this remarkable
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