Perseus with the Head

of Medusa
Antonio Canova Italian (1804-1806)

When Countess Valeria Tarnowska first met the sculptor Antonio Canova, on December 5, 1803, she
recorded the event in her diary: "I saw the great Canova! I saw him amidst his glory, surrounded by his
masterpieces — simple, modest, he seems to ignore the fact that he has become immortal." [1] Canova
was universally acknowledged to be the preeminent sculptor — for many, the dominant artist — of his
era. Determined to have a work from his hand, the countess negotiated a contract, signed by Canova on
April 14, 1804, for a version of the artist’s marble Perseus with the Head of Medusa (1797–1801).[2]

The composition proved to be one of the most important of Canova’s career. It closely reflects his
admiration for the art of antiquity and signals his fame as the rival of ancient masters. It was obviously, if
freely, based on the Apollo Belvedere, whose loss had been widely mourned in Italy ever since
Napoléon’s troops carted it off from the Vatican to Paris in 1797. In its frontality and majestic motion,
Perseus’s stance recalls the antique Apollo, but Canova’s hero’s gaze is focused on the severed head of
the monster Medusa, which in turn was based on another famous antiquity, the marble mask known as
the Rondanini Medusa (Glyptothek, Munich). When finished, Canova’s marble was purchased by Pope
Pius VII, who placed it in the niche where the Apollo Belvedere had once stood. Implicit in this act was a
championing of contemporary Italian art and defiance of the French conquerors of Italy. The following
year, Canova was further rewarded with the post of inspector-general of antiquities and works of art in
Rome and the Papal States.
The Birth of Venus
Sandro Botticelli (1445-1510)

The Birth of Venus is a masterpiece of the Italian Renaissance, depicting the goddess Venus emerging from
the sea, born of the foam and blown by the winds, Zephyr and Aura. The painting is a representation of the
mythological scene from Ovid’s Metamorphoses, where Venus is born from the sea foam and arrives on the
shore of Cyprus.

The painting features Venus, the goddess of love and beauty, standing on a giant scallop shell, covering her
nakedness with her long, blond hair. She is surrounded by the winds, Zephyr and Aura, who are blowing
gently on her hair and hairdo. On her left, a young woman, identified as one of the Graces or the Hora of
spring, holds out a cloak covered in flowers. The painting is set against a background of blue sky and sea,
with a distant landscape of hills and mountains.

The painting is rich in symbolism, with Venus representing love, beauty, and femininity. The scallop shell on
which she stands is a symbol of purity and innocence. The winds, Zephyr and Aura, represent the power of
nature and the forces that shape human destiny. The cloak held by the young woman is a symbol of
modesty and the protection of innocence.
American Gothic
Grant Wood-1938

It is a symbol of America, reflecting different views depending on one’s perspective. The painting portrays a
farmer and his daughter, embodying hard-working, practical, and conservative aspects of America. The
painting’s ambiguity allows viewers to interpret it based on their own experiences and beliefs.

The painting was inspired by a farmhouse in Eldon, Iowa, which Grant Wood visited while driving through
the state. He was fascinated by the house’s Carpenter Gothic architectural style and the lancet window,
which gave the house a Gothic feel. Wood used his sister and his dentist as models for the farmer and his
daughter, dressing them in clothing reminiscent of old photographs.

The painting has been interpreted in various ways over the years. Some see it as a satirical comment on the
midwestern character, while others view it as a positive statement about rural American values. Grant Wood
himself defended the painting, saying that he intended to portray the difficult lifestyle and challenges faced
by rural Americans during the Great Depression.
Christ Carrying the
Cross
El Greco-1580

El Greco’s “Christ Carrying the Cross” is a masterpiece of oil on canvas, created in 1580, during his Toledo
period. The painting is a depiction of Christ carrying the cross to his crucifixion, showcasing his ultimate
sacrifice for humanity.

The painting features Christ standing upright, with his eyes lifted towards the heavens, as he carries the cross.
His gentle hands wrap around the cross, while a stormy night floods the background. The composition is
characterized by a dramatic arc of Christ’s eyes, with oversized tears emphasizing his emotional expression.
This dramatic element is a hallmark of El Greco’s style, as he often used exaggerated features to convey
intense emotions.

The painting is rich in symbolism, with Christ’s eyes representing his connection to the heavens and his
acceptance of his fate. The cross, symbolizing his sacrifice, is carried by Christ with a sense of resignation and
acceptance. The stormy night background represents the turmoil and darkness that Christ faced during his
journey to the cross.
Ecstasy of Saint
Teresa
Gian Lorenzo Bernini-1647

The sculpture was commissioned by Cardinal Federico Cornaro, a Venetian nobleman, for his
burial chapel in Santa Maria della Vittoria. Bernini was inspired by the autobiography of Saint
Teresa of Ávila, a Spanish Carmelite nun, who described her mystical experience of being pierced
by an angel’s arrow of divine love.
The sculpture depicts Saint Teresa in a state of ecstasy, with her body thrown back and her eyes
half-closed. The angel, represented by a seraph, is about to pierce her heart with a golden arrow.
The scene is set against a cloud, which is illuminated by a window above, creating a sense of
depth and drama. The sculpture is a masterpiece of Baroque art, with its dramatic lighting, dynamic
pose, and sensual curves.
The Ecstasy of Saint Teresa is a representation of the mystical experience of Saint Teresa, which
she described in her autobiography. The sculpture is a symbol of the union between the human
and the divine, with the angel’s arrow representing the piercing of the heart by divine love. The
work is also seen as a representation of the Baroque era’s emphasis on drama, emotion, and
sensuality

PROJECT
IN GEC
106
PROFESSOR: SIR THEO TISADO PIE

SUBMITTED BY: DE LEON, ANTOINE ROSS JOIE D.