Plate 21: The Rape of Europa (Iupiter tauri imagine Europam rapit), from Ovid's 'Metamorphoses' 1606

Editor: We're looking at "The Rape of Europa" by Antonio Tempesta, created in 1606. It's an engraving and etching, depicting a scene from Ovid's Metamorphoses. The crosshatching is incredibly detailed! What's striking to me is how active the scene is, yet Europa looks relatively calm. How do you interpret this work? Curator: Indeed, the seeming passivity of Europa is a fascinating point. Baroque prints like this weren't just illustrations; they actively shaped how stories like Europa's were understood. Consider the role of Ovid’s *Metamorphoses* at the time – it was foundational, but each artist or printmaker got to emphasize specific morals or power dynamics within these narratives. In this image, how does Tempesta’s focus on Jupiter’s bull form and Europa’s comparatively serene posture influence the viewer? Is it a celebration of power, or something else entirely? Editor: Hmm, it's interesting that you bring up power. I hadn’t thought of Europa's passivity as a way to empower Jupiter… or maybe downplay the violence? What impact did these images have on public perceptions of such mythological stories? Curator: These prints circulated widely, shaping elite understandings and often naturalizing potentially troubling power dynamics inherent in these myths. Consider the institutional support—were these prints commissioned for specific patrons or published independently for wider consumption? Editor: So, understanding the original patron or the market would give clues about what the artist intended to convey to his viewers… Very interesting! Curator: Exactly. Further examination of such details, along with socio-political contexts, helps reveal the public function of art at the time. Editor: I see, thinking about the political backdrop helps me better grasp how these images were viewed in 17th century. Thanks!