Kowalski - Genially 2

The Triumph of Galatea

Raphael, c. 1512

Summary Here

Galatea

The daughter of "The Old Man of the Sea" and a sea nymph, Galatea is a figure of Greek myth. Michaelangelo's depiction of Galatea shows her rising out of the sea accompanied by other sea nymphs, unlike her most famous tale, which involves her lover and her consort. Her emergence from the sea is meant to signify her apotheosis as one of the Nereids (sea nymphs). Her ascension to a level of godliness is imagery typically reserved for Christian figures such as Jesus and Mary in this period, so her depiction in this way is unusual for the time.

Galatea's Red Drapery

The central figure of the painting and its namesake, Galatea, is depicted as draped in red cloth. The painting depicts her apotheosis, which aligns with contemporary depictions of divinity. Figures like Jesus or Mary were often portrayed as draped in red to signify their regal or holy status. In addition to her red drapery, Galatea is crowned with a gilded laurel, reinforcing the Madonna-eque imagery.

Cherubs/Cupid

In this painting, there are several Cherubs above the scene who seem to be taking aim at Galatea. The presence of Cherubs in Christian artwork typically signifies the presence of the divine, reinforcing Galatea's apotheosis. However, through the lens of Greek myth, these could also be seen as depictions of Cupid. The most famous story surrounding the Galatea involves her love of a peasant shepherd named Arcis, which could be foreshadowed by these Cupid-like figures aiming at Galatea.

Fish-Drawn Chariot

In this element of the painting, Galatea can be seen atop a chariot drawn by monstrous fish. In Greek and Roman myth, as well as Renaissance art, the chariot could be read as a display of power or wealth, but more likely power in Galatea's case. As the painting's title, "The Triumph of Galatea," suggests, there is an element of the central figure gaining or embracing power, which can be depicted through her triumphantly commanding her chariot. In addition, the chariot's unusual nature of being drawn by fish across the sea reinforces the themes of Galatea's origins as a sea nymph.

Triton

The story depicts Triton, a half-fish, half-man, attempting to drag one of the Nereids back into the sea. This is meant to represent the presence of unholiness and evil as half-human creatures during the Renaissance, which would have been seen as the work of the Devil. In this context, it shows the viewer those attempting to get in the way of Galatea's apotheosis and sour her holy likeness. This is reinforced by the source text, "Stanze per la Giostra," by Angelo Poliziano.

Source Text

Raphael's "The Triumph of Galatea" took inspiration from other famous Renaissance artists, such as inspiration for the figures that can be attributed to Michaelangelo's works. However, the greatest inspiration for this is "Stanze per la Giostra" by Angelo Poliziano. This serves as the source text and the inspiration for depicting Galatea's apotheosis instead of her more famous love with Arcis the shepherd or even her consortship to Polyphemus, the one-eyed giant. "Stanze per la Giostra" was written to exalt a recent victory of the Medici family in Florence, and Galatea's triumph directly mirrors that of the Medici family. It was likely intended for a predominantly male audience of upper-class individuals who would have been familiar with the political implications.