Danaë

Painted by Titian c. 1544, this version of Danaë was his first of many renditions of this scene, and is widely regarded as one of the most sensual paintings of the Italian Renaissance. Titian depicts the princess Danaë being impregnated by the Greek god Zeus in the guise of gold coins. Titian established himself as a very highly regarded, and influential interpreter of many famous myths, all of which he painted in great detail throughout his career – by 1510, Titian was appointed the official painter to the Venetian Republic [1].

In the myth of Danaë, Danaë’s father, Arcrisius, had received a prophecy from the Oracle that showed him a future in which his grandson was the cause of his death. In an attempt to protect himself and evade the prophecy, Arcrisius locked Danaë in a tower, away from any men [2]. In the scene that Titian paints, Zeus foils Arcrisuis’ plan by seducing Danaë in her tower, appearing in the form of gold coins. Danaë is shown on a bed of plain, white sheets – Titian strategically uses white to symbolize her purity and innocence. While one sheet is partially covering her leg, the majority of her figure is uncovered and she lays slightly upright on the bed. While her body is pointed towards the frame, her eyes gaze upwards in a calm, amorous way towards the cloudy haze of golden coins that represent Zeus, and her body language is open and relaxed, signifying her comfort and consent to Zeus. Titian skillfully accessorizes and adds details to Danaë’s figure to keep her consistent with the mythical descriptions of her – the ideal body of beauty in the time period, with soft blonde hair that falls over her shoulder naturally, and a ring and bracelet on the hand that is gently gripping the bedsheets on the side closest to the viewer. Titian uses lighting to highlight her pale figure and the white bedsheets, and places the rest of her bed and the background in a darker light, but adds a calm blue sky in the distance, adding to the overall serenity of the scene. Titian also highlights the figure of Cupid at the foot of Danaë’s bed, who is slightly in the background, moving out of the way from Zeus’ golden haze – seemingly to support and allow the scene he is watching. Ultimately, Titian’s use of body language, lighting, and context allows for the creation of a tranquil, beautiful depiction of the famous myth – the pure, virgin Princess Danaë being impregnated with her future son Perseus, by the god Zeus [3].

[1] “National Gallery of Art: Titian's Danaë ,” June 2014, https://www.nga.gov/press/exh/3951.html.

[2] Editors of Encyclopedia Britannica, “Perseus,” Encyclopædia Britannica https://www.britannica.com/topic/Perseus-Greek-mythology. 

[3] Titian. Danaë. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960

Titian

“National Gallery of Art.” Titian's Danaë. Accessed November 2nd, 2020. https://www.nga.gov/press/exh/3951.html.

Editors of Encyclopedia Britannica. “Perseus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2018. https://www.britannica.com/topic/Perseus-Greek-mythology.

Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed November 2nd, 2020. doi:10.2307/3049743.


Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960

Commissioner Cardinal Alessandro Farnese

Image Source:
Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960.

c. 1544

Ithika Senthilnathan

(c) 2006, SCALA, Florence / ART RESOURCE, N.Y.

Oil on Canvas, 117 cm x 69 cm

Oil on canvas painting

Museo e gallerie nazionali di Capodimonte, Napoli, Italy