The theme of the tapestries is taken from Ovid's Metamorphoses and features the gods Vertumnus, god of the changing seasons, and Pamona, the goddess of fruits and harvests.
Vertumnus, in love with Pamona, visits her garden in a series of disguises all of which fail until he appears dressed as an old woman and tells her the heartbreaking story of the tragic love affair between Iphis and Anaxarete.
Vertumnus then removes his disguise and embraces the distracted and softened Pamona.
Vertumnus, either Tuscan or Latian, is mostly remembered for his shape-shifting power and his seduction of Pomona.
This is why Vertumnus, the god of the turning year, came to the orchard of Pomona: to woo her who bring all fruits to completion.
He also came as a soldier with a sword and as a fisherman with a rod; and by means of his many disguises, Vertumnus did succeed in obtaining admission to Pomona's orchard—having much joy when looking on her beauty—, but he was unable to curb the nymph's shyness.
Pomona, the classical goddess of fruit, and Vertumnus, the god of transformation, are the main figures in an episode in Ovid's Metamorphoses which is depicted here.
Vertumnus enters Pomona's grove in order to convince her of his love.
Vertumnus is a composite figure who represents various moments in time and historical elements in his various parts.
Vertumnus' cult arrived in Rome around 300 BC and a temple to him was constructed on the Aventine Hill in 264 BC.
The subject Vertumnus and Pomona appealed to European painters of the 16th through the 18th century for its opportunity to contrast young fresh female beauty with an aged crone, with a wholly disguised erotic subtext.
François Boucher provided designs for the tapestry-weaver Maurice Jacques at the Gobelins Tapestry Manufacture for a series that included Vertumnus and Pomona (1775 - 1778), and, extending the theme of erotic disguise, Jupiter wooing Callisto in the guise of Diana: an example is at the J.
The Fauns and Satyrs would have given all they possessed to win her, and so would old Sylvanus, who looks young for his years, and Pan, who wears a garland of pine leaves around his head.
But Vertumnus loved her best of all; yet he sped no better than the rest.
When Vertumnus had spoken thus, he dropped the disguise of an old woman, and stood before her in his proper person, as a comely youth.
François Boucher: Vertumnus and Pomona (60.176.2) | Object Page | Timeline of Art History | The Metropolitan ...(Site not responding. Last check: )
Pomona, the Roman goddess of fruit, was so devoted to her orchards that she took no notice of suitors.
The god Vertumnus transformed himself into the form of a ragged old woman to gain her confidence.
Boucher was fond of the subject and had already portrayed it on several occasions, including an overdoor for the royal Château de la Muette in 1749, a design for the Beauvais tapestry manufactory in 1757, and within an oval medallion for the Gobelins tapestries woven beginning in 1764 for Croome Court.
Arcimboldo’s composite heads are not only amusing and inventive visual puns, but also complex allegory based on the Empire he served.
This lesson offers students the opportunity to examine another level of interpretation by analyzing the painting Vertumnus within its historical and cultural context.
Arcimboldo’s composite heads are closely connected with the intellectual life of the Hapsburg courts in which he served.
The detail represents Vertumnus with the same attribute that distinguish him in Ovid's story: the basket.
He is wearing peasants clothes, like the other adult figures in the group.
The general naturalistic character of the fresco reaches the height of realism in the portrayal of the peasant Vertumnus, his face furrowed by the ravages of time and his gnarled hands deformed by the hardships of work in the fields.
Read LoveToKnow 1911:Explanation to get more explanation and see how you can help!
VERTUMNUS (or Vortumnus, "turning," "changing"), in Romanmythology, the god of the changing year with its seasons, flowers and fruits, probably of Italian origin.
Like Proteus, he had the power of assuming any shape he pleased, which enabled him to win the love of Pomona.
The Fauns and Satyrs would have given all they possessed to win her, and so would old Sylvanus, who looks young for his years, and Pan, who wears a garland of pine leaves around his head.
But Vertumnus loved her best of all; yet he sped no better than the rest.
When Vertumnus had spoken thus, be dropped the disguise of an old woman, and stood before her in his proper person, as a comely youth.
