PERSEPHONE
Shashank Rao
Representing the myth of Persephone in art is an enduring tradition that has lasted through centuries of cultural and artistic change. The myth is a classic from the time of the Ancient Greeks, and the tragic abduction of the free-spirited Persephone by Hades, her life in the Underworld, and her temporary return to the surface world have been depicted many times in artwork. Two of the most prominent paintings representing this myth are the Abduction of Proserpine (1570) by Alessandro Allori, and the Return of Persephone (1891) by Frederic Leighton. Together, these paintings depict the most significant parts of the myth of Persephone, done in different styles from different eras. However, certain similarities and differences can be found when comparing these representations to the original myth of Persephone in Greek mythology. Both paintings accurately depict the Greek belief of the afterlife, showing the contrast between the surface and the Underworld, as well as the representation of Persephone as a goddess of the surface, growth, and spring (Monford et al.).
In both paintings, there is well-defined contrast between the bright, vibrant surface world where Persephone originally resided and the underworld, the realm of afterlife in Greek mythology. The underworld, also called Hades, was the mythic land that souls went to after death in Greek religious belief. According to the original myths, the underworld is a land of darkness, many rivers, caves, and terrain similar to the Mediterranean karst terrain (Connors). This is represented distinctly in the two paintings depicting the myth of Persephone. In the Abduction of Proserpine, the central part of the landscape is a clear representation of the surface world - full of open land, bright sunshine, and lush vegetation. In contrast, the underworld is found in the left of the landscape, seen in the dark, subterranean cave that the figure of Hades seems to have come from. The Return of Persephone represents this difference more subtly, with Demeter, goddess of agriculture and life, surrounded by the bright blue sky, golden sunlight, and clouds of the surface world. On the other hand, Persephone and Hermes seem to be within a subterranean chamber, which seems to be made of rock resembling those found in karst terrain. Both of these paintings accurately depict the Greek ideas of the underworld and the surface world, utilizing them well to show Persephone’s tragic journey of moving from the surface to the underworld.
Another key aspect of the Greek myth of Persephone is her nature as a goddess of spring, life, and the surface. In Greek mythology, she is closely associated with her mother Demeter, goddess of agriculture, fertility, and a protector of women (LaFond). The two paintings represent this well. The Abduction of Proserpine shows Persephone as a vibrant figure, dressed in flowing, light blue clothing and with flowers in her hair. This is in clear contrast to Hades, who is shown as a muscular, overpowering figure with a darker shading. There are flowers at Persephone’s feet, paralleling the myth in which she was gathering flowers with her friends when she was abducted. It can be seen as another connection to her role as the goddess of spring. In the Return of Persephone, she is painted as an ethereal figure, with a glowing complexion, flowing robes of pink and yellow, which contrast with darker landscape surrounding her. She is even brighter than Demeter, who has a similar appearance, emphasizing their connection. Both paintings emphasize Persephone’s vibrancy through her bright or glowing features in comparison to the surrounding landscape and other figures, portraying her as a goddess of the surface and of life. This fits well with the traditional Greek representation of Persephone as a goddess of spring and new life.
The myth of Persephone has been represented differently through different mediums and eras over time. However, it is interesting to note that the core aspects of the myth have been faithfully depicted in representations set centuries apart, such as the Abduction of Proserpine and the Return of Persephone. The Greeks’ complex belief in the underworld and their belief in Persephone - her tragic abduction, her role as a vibrant goddess of spring - have been faithfully represented in these two paintings, demonstrating the importance of the myth of Persephone.
Salma Hajian
The myth of Persephone - queen of the Underworld and daughter of Demeter - has inspired artists across centuries. Alessandro Allori's The Abduction of Proserpine (1570) and Frederic Leighton's Return of Persephone (1891) are two particularly masterful interpretations. Both paintings grapple with the traditional myth, while also adding nuance and complexity to the two pivotal moments. We will explore how these paintings both intersect and diverge from the myth as told in essential texts such as Ovid's Metamorphoses and the Homeric Hymn to Demeter.
While Allori and Leighton both adhere to the core narrative of Persephone's abduction and return, they make artistic choices in composition and emotional tone that result in unique interpretations of the goddess's experience, and emphasize distinct values.
The painting The Abduction of Proserpine was completed in 1570 by prominent Italian artist Alessandro Allori as a commission for Catholic cardinal Alamanno Salviati for his villa near Florence (Getty). Allori's portrayal adheres somewhat strictly to the abduction myth as told in Ovid's Metamorphoses. Hades, depicted with a muscular physique, forcefully grabs Persephone, and the flowers she had been collecting fall out “since she had torn her dress at the opening” (Ovid V.385-424). Unlike other popular artistic depictions, where nymphs and goddesses actively intervene in the abduction, here there is a more isolated scene where onlookers continue on with their tasks, and Hades remains uncontested.
However, Allori deviates from the traditional narrative in subtle ways. Unlike Ovid's depiction of Persephone's terror, where she “cries out to her mother, to her friends, most of all to her mother, with piteous mouth”, Allori's Persephone’s expression appears gloomy yet resigned, her gaze cast upwards, her body more limp in Hades' strong grip (Ovid V.385-424). In Allori’s vision, Persephone’s body’s positioning, coupled with her expression, lead us more to the conclusion that she is resigned to her fate. The absence of tears in Allori's portrayal of Persephone could be interpreted as a sign of her deeper understanding of her fate; tragic acceptance rather than mere fear. It also leads us to wonder if this is due to the religious commissioner, as Salviati was a Catholic cardinal, and thus this perspective could have been derived from the belief that “god’s will is god’s will”, and it was divinely ordained for Hades to take Persephone to be queen of the Underworld (Morford et al. 21).
Leighton's Return of Persephone, on the other hand, presents a stark contrast. Here, Persephone emerges gracefully from the earth with Hermes. Demeter’s welcoming stance and open arms implies anticipation and joy, rather than fear. The warm tones, blue sky, and blooming flowers also tie in the cyclical nature of their bond and the return of spring. This interpretation aligns closely with the Metamorphoses's emphasis on the cyclical seasonal changes upon her return, and the duality of her role:
“Now [Zeus], intervening, between his brother and grieving sister, divides the turning year, equally. And now the goddess, Persephone, shared divinity of the two kingdoms, spends so many months with her mother, so many months with her husband… Just as the sun, hidden, before, by clouds of rain, wins through and leaves the clouds” (Ovid V:533-571).
The artists' symbolism further reveals the nuances of their interpretations. Allori's attention to musculature and the contortion of the figures emphasize the violence and chaos of the abduction. Leighton, on the other hand, envelops the scene in soft, warm light, emphasizing the peace and renewal associated with Persephone's return. Allori's dark foreground, and the mischievous-looking satyrs in the background, give an ominous feeling.
Interestly, despite the hopeful tone of Return, there is a subtle element of uneasiness. Persephone, gently supported by Hermes, is a sickly pale color, and her neck is bent at an unnatural angle. And her one visible eye, in contrast with Hermes’ and Demeter’s bold and dark eyes, is lifeless and pale, and almost nonexistent (Schmidt 22). Leighton's portrayal of subtle horror reminds us of the trauma of the event, and aligns well with the myth as told in the Homeric Hymns: “but while Demeter still had her dear child in her arms, suddenly her heart sensed some treachery” (Homer 385-404).
By comparing these paintings with the original myth, we gain deeper insight into the artistic choices that shape our understanding of Persephone. Allori's Abduction emphasizes the violence of the act, while giving a subtle nod to Catholic ideals of divine will. Leighton's Return focuses on the cyclical renewal attributed to Persephone’s reunion, while still underscoring the trauma of the event. Ultimately, these paintings are a testament to the enduring allure of myth.
Harshitha Rebala
Persephone, the Greek Goddess of Spring, becomes the Queen of the Underworld after being forcefully abducted by the Hades, the ruler of the Underworld. She is allowed to return to the surface world on her mother's insistence, Demeter, but is forced to return to the Underworld for a few months each year as she had eaten a pomegranate seed (Morford et al. 357). Artists throughout history have been fascinated by Persephone’s captivating story of abduction, love, and return. Two notable examples are the oil paintings of Frederic Leighton’s The Return of Persephone (1891) and Dante Gabriel Rossetti’s Proserpine (1874). In this paper, I will explore my interpretation of how the artists leveraged Persephone's myth to explore contrasting perspectives on the power of love and loss in their paintings.
Leighton utilizes two distinct color palettes to frame Persephone’s myth as a symbol of the enduring love between mother and child which persists even in the face of separation and loss. The upper half of the painting is bright and colorful, mirroring the joy on Demeter's face as she waits for her daughter's return. In contrast, Persephone is painted to be emerging from the dark and gloomy Underworld. The shared motion of outreached hands between Demeter and Persephone transcends a mother longing for her child—it displays a goddess of life reaching for her other half. Demeter and Persephone are often “invoked together as the ‘two goddesses’ . . . Demeter is often imagined as the goddess of the ripe grain; Persephone then is the deity of the budding tender shoots” Morford et al. 367). The strength of their bond and shared identity as the goddesses of rebirth and life represent how the connection of love can conquer loss and even the boundaries of the physical world. Additionally, I was intrigued by how Persephone and Hermes are painted in the same bright colors as Demeter. This can be seen as a nod to their eventual return to the surface and the cycle of death and rebirth. However, in my opinion, the vibrant colors symbolize the maternal love of Demeter. This echoes the words of the Hymn to Demeter, where Persephone's return is described as a “great wonder for gods and mortals" (Morford et al., 342). After all, it was Demeter's grief that ultimately triggered Persephone's return. Even as stated in Homer and Hesiod, Demeter forced the gods to acknowledge her pain and agree to her request to reunite with her daughter (Morford et al., 138). Therefore, I view Leighton’s depiction of Persephone’s return as a testament not just to their love, but to the power of a mother's unwavering devotion that a child can always rely on.
Rossetti, in his Proserpine, draws on his personal experiences and paints Persephone as a symbol of unrequited love and forbidden desires. His melancholic artwork becomes a mirror reflecting Rossetti's struggles, particularly his longing for Jane Morris, the muse and model for the painting who was already married. In the painting, Persephone is mostly encompassed by the shadows of the Underworld and stands with a sorrowful look. She gives a wistful glance towards the beam of light that penetrates the darkness, which, in the painting's accompanying sonnet, is described as "afar the light that brings cold cheer" (Riggs). For Persephone, the light is reminiscent of her lost freedom while for Rossetti's, it symbolizes his longing for Jane Morris that could not be pursued due to societal norms. Furthermore, the pomegranate, clutched tightly in the hand of Persephone, echoes not just the Homeric Hymn, but also represents the temptations and irreversible consequences of love. As Rossetti mournfully expresses in the sonnet, "Dire fruit, which, tasted once, must thrall me here," (Riggs). Therefore, I view tasting this fruit as a representation of both the intoxicating power of desire and the potential consequences of pursuing an impossible love. By interweaving his dilemma of love with that of Persephone, Rossetti blurs the line between myth and life, thus highlighting the shared human experience of anguish, longing, and sacrifice brought by lost love.
Ultimately, through the unique perspectives of these artists, we don’t see Persephone as just a Goddess but as countless reflections of ourselves as we grapple with experiences of love and loss. Similar to the journey of Persephone, we find strength in unwavering love, we yearn for what lies beyond our reach, and we feel the consequences of harsh choices made.
Works Cited
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Connors, Catherine, and Marie LaFond. “Guest Interview: Prof. Catherine Connors on Underworld Geography.” Greek and Roman Myth. University of Washington. https://canvas.uw.edu/courses/1699218/pages/lesson-6-video-lectures?module_item_id=19767689. Accessed 14 February, 2024.
Getty. “The Abduction of Proserpine.” Getty, www.getty.edu/art/collection/object/103RD2. Accessed 13 Feb. 2024.
LaFond, Marie. “The Hand That Rocks the Cradle: Demeter.” Greek and Roman Myth. University of Washington. https://canvas.uw.edu/courses/1699218/pages/lesson-5-video-lectures?module_item_id=19767683. Accessed 14 February, 2024.
La Fond, Marie. “Homeward Bound: The Odyssey.” Greek and Roman Myth. University of Washington, June 2021, canvas.uw.edu/courses/1457478/pages/lesson-8-video-lectures?module_item_id=13108141. Accessed 21 June 2021.
Morford, Mark, et al. Classical Mythology. 12th ed., Oxford UP, 2023.
Ovid, 43 B. C-17 A. D. or 18 A. D. Ovid Metamorphoses. Translated by A. S. Kline, University of Virginia Library, 2000.
Riggs, Terry. "Proserpine." Tate, www.tate.org.uk/art/artworks/rossetti-proserpine-n05064. Accessed 13 Feb. 2024.
Schmidt, Lauren Virlee. "Spring Comes to Hades and Keeps Coming Back: An Analysis of Historical and Modern Adaptations of the Persephone Myth." Texas State University, 2016.