Apollo and Diana 1503 - 1504

Editor: Here we have Albrecht Durer's engraving, "Apollo and Diana," from around 1503. There’s a tension here; Apollo's poised with his bow, all action and aggression, while Diana looks... I don't know... almost bored? What do you make of that contrast? Curator: Ah, "bored" is an interesting choice. I might say "resigned," perhaps? It feels less a sisterly solidarity, and more of a seen-it-all weariness in her expression, wouldn't you agree? And look at how he uses the lines, especially on Apollo’s body! Durer masterfully blends classical ideals of form with his distinctly Northern, almost Gothic attention to detail, giving a slightly harsh but energetic interpretation of this ancient story. I wonder, do you think the Renaissance artists grappled with these Greek myths in new ways? Editor: Absolutely! There's an undeniable freshness to it, yet that almost clinical rendering makes it also detached. What's the deal with the stag? I'm a little shaky on my mythology. Curator: The stag, my friend, that’s pure symbolism. Associated with Diana, the huntress. This image seems to portray a power dynamic between the deities. Apollo seems set to wound or kill and possibly to offer the spoils to Diana, but the stag is strangely placid, wouldn't you agree? Does that shift your original sense of the image? Editor: I hadn't really noticed the stag’s expression; it definitely reframes her supposed "boredom." The passivity is more universal. This engraving is less about dynamic action and more about capturing stillness. That almost makes me think of photography! Curator: You know, that's an inspired connection. The precision of the moment captured in those lines is striking. I hadn't seen it that way. Editor: So, Durer’s choices make us rethink how we see these familiar characters, giving us permission to also bring our contemporary perspective. Fascinating. Curator: Indeed. Durer makes the old feel suddenly very… new, for all times, including our own.