Titan's Rape Of Europa (1560-1562)


 

            The visual scene of Titan’s Rape of Europa is as vibrant as dark. You can see that a skilled artist created this artwork and put much time and detail into it. Once you look past the work's artistic merit, you are confronted with the harsh reality that this is a painting about rape. The subject, Europa, is in the center view of the scene in a state of dishevel that conveniently emphasizes her vagina, and her breast is exposed. The whole scene stinks of sex. The act will occur soon. Her hand is grasped around the bull's horn, which is phallic and sexual in nature. This is not consensual. She is being abducted and taken away from her entourage on the shore. The sky is vibrant blue in the area by the beach, but she and the bull are swimming towards darkness. There is an impending doom quality to the scene. The cherubs are spectators, and their eyes are drawn to Europa’s vagina, drawing the viewer's eye to the region. Europa is the spectacle, a sight to be seen. The sea is churning with violent desire.  She is a victim of being turned into an object of sexual desire in the scene and for the viewer. Her loss of virtue is displayed as she is a passive participant in the act. While this artwork is created with great skill and understanding of the arts, it can be argued that the concept can dilute the greatness of the painting.

            Looking at Berger’s (1972) essay, the author points out, "In the art form of the European nude, the painters and spectator-owners were usually men and the persons treated as objects, usually women” (Essay 3). I wonder what differences there would be if a woman painted “The Rape of Europa” instead of Titan. It is also noted that “This unequal relationship is so deeply embedded in our culture that it still structures the consciousness of many women. They do to themselves what men do to them. They survey, like men, their femininity (Berger,1972, Essay 3). Would the woman be aware of her own objectification as a woman and mirror the male gaze? Berger (1972) argues that there is a difference between men and women in which “a man’s presence is dependent upon on the promise of power they embody” and “A man's presence suggests what he is capable of doing to you or for you” (Essay 3). Berger (1972) states,” Every woman's presence regulates what is and is not 'permissible' within her presence… Every one of her actions - whatever its direct purpose or motivation - is also read as an indication of how she would like to be treated" (Essay 3). I found that bit interesting in the concept of “she was asking for it” or “she was inviting trouble by dressing like that” as a reason for unwanted advances from men. It may just be a hot day, and she is hot and wearing minimal clothes, which doesn’t warrant unsolicited sexual advances. This is prevalent in the painting, and though you can sense the fear, Europa is painted submissively. She is just a spectacle to be observed.

            I considered how well made the painting is and the rape subject matter while analyzing the painting. As a feminist, queer woman, it bothers me. I still can appreciate it, even if the subject matter is dark. I appreciate all the work that Titan put into it, how he directed the eye throughout the work, and all the hidden metaphors. It is a brilliant piece of crap. Eaton (2003) argues in their article " Where Ethics and Aesthetics Meet: Titian's Rape of Europa" that “the work calls upon viewers to be sexually aroused by Europa's helplessness, fear, and vulnerability; to find her both terrified and sexually excited, willing and resisting, and so on” (p. 178). This is why Eaton believes the painting is an artistic failure. I can agree with this sentiment. While a lot of time and effort was put into this painting, that time was spent focusing on creating a scene that depicts rape. Why else would Titan paint this scene like he did, emphasizing the vagina and breast. There are phallic symbols and the frothy churning sea. It is very sexual. Titan knew what he was doing, which diminishes the artwork to me.


References

Adams, L. S. (2018). The Methodologies of Art (2nd ed.). Taylor & Francis. https://tiffin- 

         bookshelf.vitalsource.com/books/9780429974076

Berger, J. (1972). Ways of Seeing. BBC. https://www.ways-of-seeing.com.

Eaton, A. W. (2003). Where Ethics and Aesthetics Meet: Titian’s Rape of Europa. Hypatia, 18(4), 159– 

          188. https://doi.org/10.1111/j.1527-2001.2003.tb01417.x

 

 

Comments

Post a Comment

Popular posts from this blog

Yoko Ono's " Cut Piece" (1964)

Image
C  Yoko Ono, " Cut Piece " Kyoto, Japan 1964 Yoko Ono's "Cut Piece"           Yoko Ono is a multimedia artist, performance artist, filmmaker, and musician. She also dedicated much of her time to being a peace activist, which is a recurring theme in her artwork. She was born in Tokyo, Japan, in 1933 to a prestigious and wealthy family. Her early years were marked by living in the US and Japan, and she attended prestigious schools. She trained in voice and piano. The family returned to Japan in 1941. 1945 was a turbulent time in Yoko Ono’s life. It was right after the bombing of Tokyo during World War 2 her father was captured and put into a concentration camp in Thailand by the Americans. Yoko and her mother and brother escaped to the countryside. They would peddle their household items for food. After the war, her family was reunited, and their wealth was restored. Yoko went back to school. Her family moved back to New York, and she had a brief stint at Sarah La
Read more

Alfred Hitchcock's Read Window (1954) " Miss Lonely Heart- Dinner for Two"

Image
  Alfred Hitchcock's Rear Window Miss Lonely Heart- Dinner for two   The dinner scene of Miss Lonely Hearts is viewed by protagonist L.B Jeffries “Jeff,” played by James Stewert in Alfred Hitchcock’s (1954) Rear Window. Miss. Lonely Hearts dinner scene is framed by the window, which creates a focus on her activities. She is being subjected to the male gaze by the voyeur Jeff. You are watching through his eyes. The establishing shot starts with her getting ready in the bathroom. I first thought she had a hot date or some social event, but as there is a “knock” on her door, you are presented with the sad reality of an imaginary person. The scene is seen from a canted angle where the viewer is viewing from slightly above the subject. This is also a long shot, with the issue being in the distance, so they are smaller. The viewer is watching from a distance, detached from the scene, unable to do anything but watch. Mrs. Lonely Hearts transitions from the bathroom and moves into the
Read more

Debra Bright's " Dream Girls " (1989)

Image
 Debra Bright " Dream Girls" ( 1989)     I chuckled when I first saw Debra Bright’s (1989) “Dream Girls” film still (wk. three-course notes). While it is a piece of fine art, it reminded me of “memes,” where an image is juxtaposed into a secondary commentary into the image; it is usually funny. A little humor is a great way to engage a viewer. The photographer (Bright) imposed herself into an old film still of a couple arm in arm. You see bright from an angled view of her backside, with the woman looking at her with an expression of curiosity and the man staring in contempt.  Bright has put herself in a position where the man seems threatened by her presence. There is a connection between the two women. Not seeing Bright’s face completely creates a mystery for the viewer. It threatens the male ego. There is a mystery between these two women that the man could never understand. It creates a lesbian dialogue and representation in a heteronormative Hollywood.      The man hold
Read more