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Contents. Mythology Galatea (Γαλάτεια; 'she who is milk-white'), daughter of and, was a sea-nymph anciently attested in the work of both and, where she is described as the fairest and most beloved of the 50. In 's she appears as the beloved of Acis, the son of and the, daughter of the River. When a jealous rival, the Sicilian, killed him with a boulder, Galatea then turned his blood into the Sicilian River, of which he became the spirit. This version of the tale occurs nowhere earlier and may be a fiction invented by Ovid, 'suggested by the manner in which the little river springs forth from under a rock'. According to, ca 200 CE, the story was first concocted by as a political satire against the Sicilian tyrant, whose favourite concubine, Galatea, shared her name with the nymph.
Others claim the story was invented to explain the presence of a shrine dedicated to Galatea on Mount Etna. Cultural references. Landscape with Polyphemus by Nicolas Poussin Paintings featuring Acis and Galatea can be grouped according to their themes.
Most notably the story takes place within a pastoral landscape in which the figures are almost incidental. This is particularly so in Nicolas Poussin's 'Landscape with Polyphemus' (1649) and 's seaside landscape of 1657, in both of which the lovers play a minor part in the foreground.
In an earlier painting by Poussin (, 1630) the couple is among several embracing figures in the foreground, shielded from view of Polyphemus, who is playing his flute higher up the slope. In all of these Polyphemus is somewhere in the background, but many others feature Galatea alone, as in 's painting of her being drawn by sea beasts over the waves while riding on a seashell. Generally, though, the nymph is carried through the sea by adoring attendants in paintings generally titled 'The Triumph of Galatea', of which the most renowned treatment is. In general these follow the 3rd-century description given of such a painting by in his: The nymph sports on the peaceful sea, driving a team of four dolphins yoked together and working in harmony; and maiden-daughters of, Galatea’s servants, guide them, curving them in if they try to do anything mischievous or contrary to the rein.
She holds over her heads against the wind a light scarf of sea-purple to provide a shade for herself and a sail for her chariot, and from it a kind of radiance falls upon her forehead and her head, though no white more charming than the bloom on her cheek; her hair is not tossed by the breeze, for it is so moist that it is proof against the wind. And lo, her right elbow stands out and her white forearm is bent back, while she rests her fingers on her delicate shoulder, and her arms are gently rounded, and her breasts project, nor yet is beauty lacking in her thigh. Her foot, with the graceful part that ends in it, is painted as on the sea and it lightly touches the water as if it were the rudder guiding her chariot.
Her eyes are wonderful, for they have a kind of distant look that travels as far as the sea extends. In those cases where the rejected lover Polyphemus appears somewhere ashore, the division between them is emphasised by their being identified with their respective elements, sea and land. Typical examples of this were painted by, and.
Sensual portrayals of the lovers embracing in a landscape were provided by French painters especially, as in those by (c. 1700), and Alexandre Charles Guillemot (1827).
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Polyphemus lurks in the background of these and in the example by De Troy his presence plainly distresses Galatea. Other French examples by (1833) and (1877) show the lovers hiding in a cave and peering anxiously out at him. They anticipate the tragic moment when he looms menacingly over the pair, having discovered the truth they have tried to conceal. The threat is as apparent in 's softly outlined 18th-century vision as it is in 's almost Surrealist painting of 1900. The brooding atmosphere in these suggests the violent action which is to follow.
That had been portrayed in earlier paintings of Polyphemus casting a rock at the fleeing lovers, such as those byand. Sculpture. Hesiod,; Homer,. Posiflex pp 8000 usb driver. Ovid, Metamorphoses. (1867), in Smith, William, 1, Boston, MA, p. 13., Deipnosophistae.
Scholiast on Theocritus' Idyll VI quoting the historian Duris and the poet Philoxenus of Cythera. University of Chicago. Retrieved 2014-09-12. Retrieved 2014-09-12. The text is on the and there is a complete performance on. Brief excerpts at. Rebecca Green, “Representing the Aristocracy”, in Haydn and his world, Princeton University 1997,., translation by Arthur Fairbanks, (Loeb 1931).
Christie?s. Archived from on 2014-02-02. Retrieved 2014-09-12. Retrieved 2014-09-12. Retrieved 2014-09-12.
Barkley, John (2004). Retrieved 2014-09-12. Retrieved 2014-09-12. References.
Grimal, Pierre (1986). The Dictionary of Classical Mythology. Oxford: Basil Blackwell.: Acis. This article incorporates text from a publication now in the:, ed.
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