Jupiter et Danäe by Stefano della Bella

Jupiter et Danäe c. 17th century

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print, etching

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ink drawing

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narrative-art

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baroque

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print

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etching

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figuration

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history-painting

Dimensions 1 3/4 x 2 1/8 in. (4.45 x 5.4 cm) (sheet)

Editor: Here we have "Jupiter et Danaë," a 17th-century etching by Stefano della Bella, now hanging in the Minneapolis Institute of Art. It strikes me as quite dreamlike, almost ethereal, given the limited tonal range of the print medium. What is your take on this piece? Curator: Dreamlike is spot on. It’s that delicate dance between the mythological and the deeply personal that always grabs me. The rain of gold, for example, isn’t just a symbol of divine intervention or wealth; it's like a shower of pure imagination. The artist seems to be asking, “What if divinity wasn’t thunderous and imposing, but intimate and transformative?” Look at Danaë's expression – she’s not scared or overwhelmed, is she? Editor: No, not at all. She looks almost… accepting? Relaxed even? I suppose gold raining down on you could be a nice experience, though perhaps a bit drafty! Curator: Exactly! It's playful and serious all at once, reflecting the complexities of baroque sensibilities. The loose line work suggests movement, almost as if we are witnessing a fleeting moment from a dream. The artist has also created some intriguing, almost caricatural figures that appear quite earthly against the imagined event. What do you make of them? Editor: Good point. They're a little off, a bit exaggerated and out of sync with the reclining figure. It’s strange because those figures feel like characters out of a Breughel painting who accidentally crashed a Renaissance party. Curator: You’ve nailed it! That tension, that slight discordance is the spice, the secret ingredient! It reminds us that even grand myths live in a human context, molded by our everyday experiences, anxieties and humors. I find myself wondering about the artist’s own personal anxieties. It makes me want to know the person behind the lines, what kind of thoughts they entertained, and how this came out of the stylus. Editor: Me too! I'll definitely look at della Bella's prints with a new appreciation going forward. The piece suddenly feels like it contains so many hidden conversations.

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