HERMES

Bartholomeus Spranger (1546-1611), Hermes and Athena, Created Date Unknown, oil painting

Bryan Feng

In Bartholomeus Spranger's "Hermes and Athena," the canvas becomes a dynamic stage where the Greco-Roman deities are captured in an allegorical snapshot, signifying the transmission of divine knowledge and action. Spranger, working in the late Renaissance, eloquently weaves the classical with the contemporary, echoing the Renaissance's revival of ancient motifs. The painting becomes a tapestry of its own, where each brushstroke is a thread contributing to the grand narrative of mythological tradition and Renaissance humanism.

In the annals of classical mythology, Hermes is known for his swiftness and wit, carrying messages between the divine and mortal realms with the aid of his winged sandals and caduceus. Athena, born from Zeus's head, is the embodiment of wisdom and strategic warfare. Spranger's interpretation of these deities goes beyond their traditional representations. In his work, Hermes's animated posture and raised arm suggest the act of delivering a vital message, while Athena's reclined yet alert presence embodies the thoughtful absorption of that message. Spranger's painting, thus, transcends mere depiction; it becomes a conversation between thought and action, a reflection on the intersection of divine influence and human affairs (Harris and Platzner 87-88).

The manner in which Spranger positions Hermes and Athena reveals a nuanced understanding of their mythological roles. Hermes, often depicted in motion, is here frozen in time, yet full of potential energy. Athena's calm and composed demeanor contrasts sharply with Hermes's urgency, reinforcing her association with considered wisdom (Morford et al. 125). This tension mirrors the duality of human nature, caught between hasty action and deliberate planning.

Spranger's engagement with the subject matter is evident in the intricate details and vibrant colors of the painting, a signature of his style that aligns with the Mannerist tendencies of the late 16th century. His original perspective is manifest in the unique portrayal of the deities' interaction, offering an interpretation that could be viewed as a Renaissance commentary on the ancient myths, highlighting the era's particular values such as balance, harmony, and the ideal of the ‘uomo universale’ or universal person (Burke 52).

In conclusion, "Hermes and Athena" is not merely a representation of two iconic figures from mythology. It is Spranger's meditation on the dual aspects of human endeavor, mirrored in the divine. By presenting these deities in a humanistic light, he invites the viewer to reflect on the nature of wisdom and communication, themes as relevant now as they were in antiquity. The painting thus serves as a mirror, reflecting the timelessness of these myths and their capacity to convey profound truths about the human condition (Bull 210).

Works Cited:

Harris, Stephen L., and Gloria Platzner. "Classical Mythology: Images and Insights." 5th ed., McGraw-Hill, 2008.

Morford, Mark P. O., et al. "Classical Mythology." 9th ed., Oxford University Press, 2011.

Burke, Peter. "The Italian Renaissance: Culture and Society in Italy." 3rd ed., Princeton University Press, 2014.

Bull, Malcolm. "The Mirror of the Gods: Classical Mythology in Renaissance Art." Penguin Books, 2005.

Emma Jefferson

As we’ve taken a long look into Hermes’ surrounding myth and legends, we have discovered lots of beautiful pieces, like Bartholomeus Spranger’s Hermes and Athena oil painting. The portrait displays Athena, goddess of wisdom and warfare, next to Hermes, the speedy messenger of the gods. In my opinion, this piece has provided a more realistic take on deities and how they function within their myths.

 In Lecture 5 Video 1, we focus on Hermes’ etymology and origin. It is stated there that Hermes is a god of the roads, sending messages and crossing boundaries. As we look at this piece, we see Hermes pointing outwards, guiding the two figures. It’s interesting to see these two depicted together, as they are half-siblings and both are dynamic, fast, and fierce figures in Greek mythology. Athena, as discussed in Lecture 3 Video 3, is a powerful goddess representing protection, discipline, and “cunning intelligence.” It’s immediately clear that Spranger emphasized the physical beauty of the two subject’s bodies and appearance. It was common for classical painters to communicate the idealized proportions of humans through the paintings of gods and goddesses.

I am incredibly inspired by this piece and how it decides to represent these two mythical beings. Through a somewhat simplistic painting of Athena and Hermes, we can determine some key aspects of them and their roles in myths. If we boil them down to their symbolic representations of values and themes of Greek civilization at the time, we see a harmonic conjunction between wisdom and quick action/direction. In my opinion, the audience is given a symbolically real account of Hermes which represents him honestly to audiences. When learning about mythology, it can be difficult to visualize these beings. There are often many different accounts and forms they take. Spranger’s painting gives us a clear look into Hermes and portrays him in his most accurate form. I think that showing Hermes in confident motion, with his classic winged sandals and caduceus, illustrates his main attributes as a powerful deity. His position in the painting contrasts Athena’s, as she is equipped with different powers useful to the duo. She is behind him, providing wisdom and protection, concepts that are sometimes lacking when one is quick and action-oriented. This painting shows Hermes’ strengths and weaknesses as a god in an incredibly simplistic way by pairing him with another goddess with distinct power. This is meaningful to me because it gives a sense of realisticness to deities; these figures who are seen as very powerful and important, still can have their drawbacks and need support from those around them. In conclusion, Hermes and Athena are beautifully depicted in Spranger’s painting, showing candid intensity and deficiency in who they are.

Lecture Slides Referenced: