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Globe
Beheading of the rhinoceros
Without title
Untitled
Without title
Without title
Indivisible quartet
Room for voices
Time, mistake, space
Without title
Yellow surface
River bed
A J L B
Without title
Checks. Tribute to Niepce
Amalfi box
Big Black Cretto
Basin
Without title
Shock wave
White gold room
Flagellation of Christ
Judith and Holofernes
Vesuvius
Portrait of Paul III with his grandchildren
Danae
Portrait of a young woman called Antea
The Parable of the Blind
Atalante by Ippomena
Transfiguration of Christ
Madonna and Child with Angels
Crib group with the Nativity
Sant'Agata
Portrait of fra luca Pacioli with a pupil
Hercules at the crossroads
Apollo and Marsyas
Saint Jerome in the study
From Frisio to Santa Lucia or Neapolitan song
Crucifixion
Madonna of the veil
Portrait of Pier Luigi Farnese in armor
Globe
Beheading of the rhinoceros
Without title
Untitled
Without title
Without title
Indivisible quartet
Room for voices
Time, mistake, space
Without title
Yellow surface
River bed
A J L B
Without title
Checks. Tribute to Niepce
Amalfi box
Big Black Cretto
Basin
Without title
Shock wave
White gold room
Flagellation of Christ
Judith and Holofernes
Vesuvius
Portrait of Paul III with his grandchildren
Danae
Portrait of a young woman called Antea
The Parable of the Blind
Atalante by Ippomena
Transfiguration of Christ
Madonna and Child with Angels
Crib group with the Nativity
Sant'Agata
Portrait of fra luca Pacioli with a pupil
Hercules at the crossroads
Apollo and Marsyas
Saint Jerome in the study
From Frisio to Santa Lucia or Neapolitan song
Crucifixion
Madonna of the veil
Portrait of Pier Luigi Farnese in armor

Atalante by Ippomena

Guido Reni

Displayed in:

Capodimonte Museum and Real Wood

Capodimonte Museum and Real Wood

Via Miano, 2, Naples

Open now from 08:30 to 19:30

Verified profile

The myth represented, narrated by Venus, then decided to attempt female vanity by intentionally dropping the golden apples of the garden of the Hesperides during the race. The moment represented is precisely the one in which Atalanta, eager to possess the precious apples, stopped to pick up the second one, thus allowing the young lover to be able to overcome it. The theme becomes for Reni nothing more than a pretext to create one of his most balanced classicism works. The two figures, placed on a single advanced plane, devoid of spatial continuity with the deep and distant horizon, are placed in a sphere without space or time, mysterious and inaccessible. Arranged in an intricate game of diagonals that intersect and move away, the bodies define a sort of frozen pose, crystallized in the still atmosphere imbued with a lunar and almost metaphysical light. Made at the beginning of the third decade of the seventeenth century, a short distance from the first version now in the Prado Museum, the canvas passed through some private Milanese and Roman collections before being purchased by the Bourbons in 1802.
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Details

Title: Atalante by Ippomena

Author: Guido Reni

Date: 1620-25

Technique: Oil painting on canvas

Displayed in: Capodimonte Museum and Real Wood

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