Unknown Artist, German, early 18th century, Venus Riding in Her Swan Chariot with Cupid and Flora Attending, pen and ink heightened with white on blue wash, 12 3/4 x 17 1/4 in., Saint Vincent Archabbey Collection. Photo: Richard Stoner.
Narratives and imagery sourced from Greek and Roman mythology were common subjects for artists of the Baroque era. Revered for their complex, imaginative tales supported by a diverse pantheon of characters, myths from the ancient world were frequently chosen to embellish the residences of Europe’s aristocracy. These newly constructed, opulent homes were furnished with elaborate frescoes, murals and stuccowork as a means of articulating wealth and societal status. The late baroque drawing Venus Riding in Her Swan Chariot with Cupid and Flora Attending is likely either a rendering of an existing ceiling mural or a proposal for one.
This drawing bears stylistic resemblance to early 18th century work created by the southern German School of Wessobrunner, initially founded by the Benedictines of Wessobrunn Abbey. Buoyed within a cloudy field, Venus is depicted reclining in her chariot driven by a pair of swans and turtle doves–symbolizing her role as the goddess of love. She is accompanied by her son, Cupid, seen closest to her, and the goddess Flora grasping blossoms in both hands. Behind them, a young Proserpine resists the unwanted advances of a winged Pluto’s abduction.
This drawing bears stylistic resemblance to early 18th century work created by the southern German School of Wessobrunner, initially founded by the Benedictines of Wessobrunn Abbey. Buoyed within a cloudy field, Venus is depicted reclining in her chariot driven by a pair of swans and turtle doves–symbolizing her role as the goddess of love. She is accompanied by her son, Cupid, seen closest to her, and the goddess Flora grasping blossoms in both hands. Behind them, a young Proserpine resists the unwanted advances of a winged Pluto’s abduction.
