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Corsini Gallery verified

Rome, Lazio, Italy closed Visit museumarrow_right_alt

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Michelangelo Merisi, detto Caravaggio - St. John Baptist
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Giambattista Piazzetta - Judith and Holofernes
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Orazio Gentileschi - Madonna with child
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Peter Paul Rubens - San Sebastiano cured by the angels
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Antoon van Dyck - Madonna of the straw
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Guido Reni - Salome with the head of the Baptist
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Christian Berentz - The elegant snack
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Corsini throne
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Jusepe de Ribera - Venus reaches dying Adonis
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Luca Giordano - Dispute of Jesus among the doctors
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Salvator Rosa - The torture of Prometheus
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Jusepe de Ribera - Denial of Peter
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Bartolomé Esteban Murillo - Madonna of the milk
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Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
fullscreen
Rosalba Carriera - Allegory of the four elements - Air, Water, Earth, Fire
fullscreen
Hans Hoffmann - The hare
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Giovanni da Milano - Polyptych with Madonna and Child with Saints
fullscreen
Mattia Preti - The tribute of the currency
fullscreen
Jacopo Bassano - Adoration of the shepherds
Michelangelo Merisi, detto Caravaggio - St. John Baptist
Giambattista Piazzetta - Judith and Holofernes
Orazio Gentileschi - Madonna with child
Peter Paul Rubens - San Sebastiano cured by the angels
Antoon van Dyck - Madonna of the straw
Guido Reni - Salome with the head of the Baptist
Christian Berentz - The elegant snack
Corsini throne
Jusepe de Ribera - Venus reaches dying Adonis
Luca Giordano - Dispute of Jesus among the doctors
Salvator Rosa - The torture of Prometheus
Jusepe de Ribera - Denial of Peter
Bartolomé Esteban Murillo - Madonna of the milk
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
Rosalba Carriera - Allegory of the four elements - Air, Water, Earth, Fire
Hans Hoffmann - The hare
Giovanni da Milano - Polyptych with Madonna and Child with Saints
Mattia Preti - The tribute of the currency
Jacopo Bassano - Adoration of the shepherds

Other works on display

Description

The myth of Venus and Adonis has reached its last act here. Adonis, the beautiful young man loved by Venus, was fatally wounded by a wild boar during a hunting trip. The goddess bursts onto the scene with a real leap, which is not simply a scenic gimmick but is linked to the narrative. Ovid, in fact, in the 10th book of the Metamorphoses, narrates that Venus is on her chariot pulled by swans, returning to Cyprus, when from a distance he hears the moans of dying Adonis and rushes down from heaven. Behind Adonis we see a hunting dog, a broken trunk and a dusky landscape. The young man's body stands out against the red of the drapery, a probable allusion to the color of the anemone, the flower into which his blood will be transformed. The episode is reinterpreted in a Christological key, as had already happened in the literary sphere with the poem Adonis (1623) by Giovan Battista Marino. The wound of Adonis is on the side, not on the groin, as in Ovid's poem, and the way in which Venus raises her arms, as a sign of desperation, has been related to the iconography of the Magdalene.

Other artworks in Roma

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