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daphne1 “Daphne Found Asleep by Apollo” by the Master of the Apollo and Daphne Legend (that is, an anonymous painter) c. 1500 A.D. transferred from wood to canvas 25 5/8” x 53 ¾” cassone panel, part of a group (see daphne2) note that the subject of this painting has no actual basis in myth, also no other representation in Renaissance art from the Samuel H. Kress Collection, New York, NY |
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daphne2 “Daphne Fleeing from Apollo” by the Master of the Apollo and Daphne Legend (that is, an anonymous painter) c. 1500 A.D. transferred from wood to canvas 25 5/8” x 53 ¾” cassone panel, part of a group (see daphne1) from the Samuel H. Kress Collection, New York, NY |
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daphne3 “Apollo and Daphne” by Antonio Pollaiuolo (1429-1498) shortly after 1475 11 5/8” x 7 7/8” National Gallery, London “Indeed, we are justified in reading into his Apollo and Daphne… a symbolic value; since it shows how, in the throes of passionate emotion, man becomes at one with the world of nature. Pollaiuolo was the first artist to give expression to his humanistic culture in a steady flow of pictures having mythological subjects…. Mythology—especially as it figures in Ovid’s Metamorphoses—was a meeting-point, beyond space and time, between history and nature; it enabled the artist to break with the established order of space (perspective) and that of recorded time (the march of history). Hence his ability to impart to gestures a new immediacy and to the aspects of nature an unprecedented vividness.” (Lassaigne page 132) |
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daphne4 c. 337-340 AD? Originally
from Risstissen, a city on the right bank of the Danube (founded c. 50 ad)
Though hard to see, this (moulding?) shows Daphne on the left with Apollo (his robe coming off) pursuing her. Her left arm is outstretched behind her, and is transforming into a branch of a tree. from Musee de Stuttgart (Esperandieu page 410) |
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daphne5 “Apollo and Daphne” c. 6-7 ad? textile “Apollo casually [threatens] Daphne, already turning into a tree; but she proffers to him a cross: the christianzing of the pagan subjects is beginning and will gather pace through the remaining record of Coptic art...” (Boardman, page 179) notice also, that Daphne is wearing a cross around her neck from Antinoopolis (Northern Africa/Egypt) from Paris, Louvre (Boardman, page 181) |
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daphne6 “Apollo and Daphne” Domenichino and Alessandro Fortuna(?) 1616-1618 fresco, 311.8 x 189.2 cm National Gallery, London Fresco could have been done by an assistant, possibly not Fortuna (scholars say that the figures’ appearances are too clumsy to be done by Domenichino.) (Spear, plate 186) |