I was fascinated by this piece, kept scrolling backwards and forwards to look at the painting again. I admit that for a while I assumed the fantastic dancing guy at the front with the snakes was Bacchus, as he took all my attention! Thank you for this. I think the other reason Lamb never travelled was that he had to keep an eye on his poor sister Mary?
Thank you Sarah! you're right, he lived with Mary for years (when she wasn't in an institution), and this will have been another reason for not travelling. Hers is such a sad story.
Jeffrey, this is a Spanish galleon of a whole piece, laden with treasure! So beautifully written. I'm inspired to get myself up to the National Gallery asap
There is something deeply satisfying, as an artist, when someone takes the time to really read into your work. And think it’s cool that Lamb did it for the Titan piece and you’re doing it for his essay on it :)
Your essays always make me think about the way I consume and critically think about different types of work. Whether it's a painting or a television show It's always great to tackle art from multiple perspectives while also being open to others as well.
Thank you, Daniel. I agree. I find that it's all too easy, and not to healthy, always to look at art from the same perspective. That's why I find critics helpful, though not until I've tackled the work myself.
What a gorgeous reflection, Jeffrey. I also like to enter galleries unaided. But at the same time, certain prose helps me to see some hidden layers. What a beauty.
There's something immediately perceptible but impossible to define that makes a critique of a work of art (or literature etc) feel genuine, and I think that's why your response to Lamb (and ours, to you, in turn) is the real deal!
Art can have such a strong, visceral impact but often we need some enthusiasm and information to make it 'land' fully.
I am trying to share these types of experiences with art (surrealist art by women in particular) on my Substack and it's helped me to read this. At the same time, it has entertained and educated me!
Thank you for your kind and thoughtful response, Kathy. I agree that we often need some kind of way in to a painting to unlock it completely. Your Substack sounds fascinating and I'll be checking it out. Thank you!
I'm so glad that you enjoyed it, Freya! There's another element which I only became aware of after finishing this essay and so it's not included - a parallel with an episode in my life which I hadn't seen in these mythic terms. Perhaps this essay has given me a way to tell that rather painful story. So it would seem that Ariadne has another thread for me... :)
There is so much in this painting that is not seen at first glance. It was ages before I spotted drunken Silenus on his donkey, or saw the animal head on the floor and the animal limb being held aloft by one of the satyr followers. Bacchus' rituals involved the tearing apart of animals and his wild girls-the maenads-were dangerous and bloodthirsty indeed. There are those who see Bacchus delivering a perfect leg-break, but that's facetious. Jennifer Saint has written a brilliant retelling of Ariadne's story - from her minotaur brother and falling for Theseus, to her abandonment on Naxos and marriage to Dionysus (Bacchus), it's a terrific tale.
Thank you, June! Yes, there's a lot going on. And so many versions of this story seem to exist, all having a bearing on the motivation of the different characters. Thanks for mentioning the Saint retelling, which I only referred to in a link. I've only just come across it and look forward to reading it.
Love it.
"Drunk with a new fury beyond the grape...."
I shall use this when I get a bit raucous and can't blame it on one too many snifters of the old Sauvignon Blanc.
😅 Thank you. It's a great line, isn't it?
I was fascinated by this piece, kept scrolling backwards and forwards to look at the painting again. I admit that for a while I assumed the fantastic dancing guy at the front with the snakes was Bacchus, as he took all my attention! Thank you for this. I think the other reason Lamb never travelled was that he had to keep an eye on his poor sister Mary?
Thank you Sarah! you're right, he lived with Mary for years (when she wasn't in an institution), and this will have been another reason for not travelling. Hers is such a sad story.
I’ve seen this one a time or two or half a dozen. You’ve made it new. Well done!
Thank you, Rona!
Jeffrey, this is a Spanish galleon of a whole piece, laden with treasure! So beautifully written. I'm inspired to get myself up to the National Gallery asap
Wow, thanks, Chloe!
I hope you make it up to the National Gallery soon. I'm longing to go again myself.
I love how you take us along every step of your interacting with Lamb. Also enjoyed the voice-over!
Thank you, Tara. I found the voice-over unexpectedly difficult. Lots to work on, so thanks for the encouragement!
I found the same thing, so I save them for my shortest posts, allowing for retakes. 😅
I think I'll do the same! Though this was a short post for me... 😅
😂
There is something deeply satisfying, as an artist, when someone takes the time to really read into your work. And think it’s cool that Lamb did it for the Titan piece and you’re doing it for his essay on it :)
I agree, Michael. Deep attention is a wonderful compliment. Thank you reading and commenting!
Your essays always make me think about the way I consume and critically think about different types of work. Whether it's a painting or a television show It's always great to tackle art from multiple perspectives while also being open to others as well.
Thank you, Daniel. I agree. I find that it's all too easy, and not to healthy, always to look at art from the same perspective. That's why I find critics helpful, though not until I've tackled the work myself.
My goodness, over breakfast? You astound me, Mr. Streeter.
Lamb for breakfast, I know...
What a gorgeous reflection, Jeffrey. I also like to enter galleries unaided. But at the same time, certain prose helps me to see some hidden layers. What a beauty.
Thank you, Kate! I'm really glad you enjoyed it. Lamb and Titian go so well together!
There's something immediately perceptible but impossible to define that makes a critique of a work of art (or literature etc) feel genuine, and I think that's why your response to Lamb (and ours, to you, in turn) is the real deal!
Art can have such a strong, visceral impact but often we need some enthusiasm and information to make it 'land' fully.
I am trying to share these types of experiences with art (surrealist art by women in particular) on my Substack and it's helped me to read this. At the same time, it has entertained and educated me!
Thank you for your kind and thoughtful response, Kathy. I agree that we often need some kind of way in to a painting to unlock it completely. Your Substack sounds fascinating and I'll be checking it out. Thank you!
I love this dive into myth, art, writing--it's a beautiful, meditative read. Thanks so much for sharing your following those threads of Ariadne's ;)
I'm so glad that you enjoyed it, Freya! There's another element which I only became aware of after finishing this essay and so it's not included - a parallel with an episode in my life which I hadn't seen in these mythic terms. Perhaps this essay has given me a way to tell that rather painful story. So it would seem that Ariadne has another thread for me... :)
There is so much in this painting that is not seen at first glance. It was ages before I spotted drunken Silenus on his donkey, or saw the animal head on the floor and the animal limb being held aloft by one of the satyr followers. Bacchus' rituals involved the tearing apart of animals and his wild girls-the maenads-were dangerous and bloodthirsty indeed. There are those who see Bacchus delivering a perfect leg-break, but that's facetious. Jennifer Saint has written a brilliant retelling of Ariadne's story - from her minotaur brother and falling for Theseus, to her abandonment on Naxos and marriage to Dionysus (Bacchus), it's a terrific tale.
Thank you, June! Yes, there's a lot going on. And so many versions of this story seem to exist, all having a bearing on the motivation of the different characters. Thanks for mentioning the Saint retelling, which I only referred to in a link. I've only just come across it and look forward to reading it.
What I love most about that painting is the sense of movement - as if it’s a mad revelry frozen in time. ✨
Thank you, James! That's so well put.
Remarkable, revealing. I too see the painting anew. What a marvelous essay about Lamb and Titian.
Now, here's a splendid example of engaging a "text." A fruitful education to follow along with you, Jeffrey. Thanks.
Thank you, Jay. Coming from you, that means a lot.
Beautiful! Think I agree with your possible take on Gros' Ariadne... plotting her next move!
I'd like to think so, too!