women & snakes
Medusa
Harriet Hosmer (1830–1908), Victoria Art Gallery
Winifred Hope Thomson, 1896, National Trust, Dorneywood
Dante Gabriel Rossetti, 1828-1882
Michelangelo Merisi da Caravaggio, 1597, Uffizi, Florence
Gian Lorenzo Bernini, Baroque, Palazzo dei Conservatori, Rome, Italy
Rubens, 1617-1618, Kunsthistorisches Museum, Vienna, Austria
Arnold Böcklin, Symbolism
Franz Stuck, 1892
Alexander Calder, 1930
Expressionism
Carlos Schwabe, 1895
Symbolism
Damien Hirst, 2013, Gold, silver, 320 x 397 x 397mm (12.6 x 15.6 x 15.6in)
Private Collection
Image © Damien Hirst and Science Ltd. All rights reserved, DACS 2018
Benvenuto Cellini, Loggia dei Lanzi, Florence; Italie
Antonio Canova, 1804–1806, The Metropolitan Museum of Art
Laurent Honoré Marqueste, 1848-1920, Museum of Fine Arts of Lyon
Vatican Museums, Rome
unknown painter, Italian Schook, 17th century, Kingston Lacy collection
George Fredrick Watts, Symbolism
Renaissance armour, Italy, 1550-1570, Bargello
Istanbul Archaeological Museum
Early seventh-century BCE pithos from the Kykladic Islands showing Perseus about to chop Medusa’s head off. In this version she has the body of a horse.
1st-2nd century A.D. Courtesy of The Metropolitan Museum of Art.
Salvador Dalí
Roman mosaic of the head of Medusa from a tepidarium Tunisia dating to the late second century CE
Medusa mosaic with blonde snakes (2nd c. CE, National Archaeological Museum, Athens), image via Wikipedia
(Greek, 4th century BCE), bronze, width: 4 7/8 inches; length: 15 3/4inches (courtesy the Metropolitan Museum of Art, Gift of Mr. and Mrs. Jonathan P. Rosen, 1991)
Created for the temples of Venus and Roma, built 137 AD in Rome, now in Roman-Germanic Museum of Cologne, Germany.
photo: Christoph Wagener, CC BY 3.0 <https://creativecommons.org/licenses/by/3.0>, via Wikimedia Commons
Studio of Antonio Canova, (Rome, 1806-07), plaster cast with modern metal rod (courtesy Metropolitan Museum of Art, Fletcher Fund, 1967)
Greek terra-cotta plaque of Medusa running, dated to between c. 620 and c. 600 BCE, currently on display in the Archaeological Museum of Syracuse
Archaic Gorgon (around 580 BC), as depicted on a pediment from the temple of Artemis in Corfu, on display at the Archaeological Museum of Corfu.
image via wikipedia
Tondo from an Attic black-figure kylix dated to the late sixth century BCE depicting the face of a Gorgon
Fasos island, 4 c. BC. Pushkin museum, image from WikiCommons
first-century CE Roman door decoration of the head of Medusa from the city of Pompeii, Museo Archeologico (Naples)
image from Wikicommons
Roman relief carving of the head of Medusa dating to the second or third century CE
photo from Wikicommons
© Michael Greenhalgh, CC BY-SA 2.5 <https://creativecommons.org/licenses/by-sa/2.5>, via Wikimedia Commons
Gustave Boulanger, 19thC, image: wikicommons
François Boucher, 1735, Pushkin Museum of Fine Arts, image: wikicommons
François Lemoyne, 1724, Louvre Museum, France, image: wikicommons
Ancient Roman fresco, Pompeian Fourth Style (45-79 AD), National Archaeological Museum of Naples, Italy
image: wikicommons
Vienna, Schönbrunn gardens, statue
Omphale wearing Hercules' garb, 18th-century sculpture from the Schönbrunn Garden by Joseph Anton Weinmüller
image: wikicommons
Lucas Cranach the Elder, after 1537, National Museum Poznan
image: wikicommons
Egon Schiele, 1910; Czech Republic, Expressionism
Paolo Veronese, c.1575, Mannerism (Late Renaissance): National Gallery, London, UK
Angelica Kauffman, c.1780, Neoclassicism
Paris Bordone, 1555, Museum of Art and Archaeology, University of Missouri
Engraving by J. Punt and P. Tanjé after C. Troost.
. . . a woman descending a ladder in to the arms of her lover; a duel between the woman's lovers; the demons offer such solutions as divorce and suicide.
George Cruikshank, 1792-1878, published London 1875, National Library of Medicine
John Brown, 1765, Cleveland Museum of Art
Brown is known for a small group of monochromatic drawings imbued with sinister overtones. This drawing exemplifies his Roman street scenes which often depict women dressed in spectacular, billowing costumes. Here, a coquette with bare ankles and plunging décolletage is surrounded by a crowd of vulgar types who leer, ogle, judge, and scorn. The reverse of the sketchbook sheet includes two independent drawings: a study of faces in fierce and intense expressions, and a pair of women wearing swirling gowns. One figure raises her hand in a mysterious gesture that casts a shadow on her throat resembling a claw. Whether the viewer is being beckoned or forewarned remains a mystery.
Paul Klee, 1922, Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase
Lucas Cranach the Elder (1472–1553) :Louvre Museum
Paul Gauguin (1848–1903): Pushkin Museum of Fine Arts
Paul Gauguin (1848–1903): Staatsgalerie Stuttgart
Edvard Munch, 1895: Rasmus Meyer Collection, Bergen, Norway
1968
23 1/2 x 11 x 7 1/2" (59.7 x 28 x 19.1 cm)
Statue of queen Cleopatra VII. Basalt, second half of the first century BC. Hermitage Museum, Saint Petersburg
Artemisia Gentileschi, 1633-35, Private Collection, Rome, Italy
Johann Heinrich Tischbein (1722–1789), 1767: Fogg art Museum
Arnold Böcklin, 1872 , Symbolism
Jacob Jordaens, 1653, Baroque: Hermitage Museum, Saint Petersburg, Russia
John William Waterhouse, c.1887, Romanticism
Sir Lawrence Alma-Tadema, 1883, Romanticism
Artemisia Gentileschi, 1620, Tenebrism
Michelangelo, 1534, High Renaissance: Uffizi Gallery, Florence, Italy
Guido Reni, c.1639, Baroque: Sanssouci, Potsdam, Germany
John Collier, 1910, Romanticism
Justus van Egmont, 1680
Louis Moritz, 1823-1825, Rijksmuseum
Michele Desubleo, c.1601-76, Fondazione Cariplo, Milan, Italy
Guercino, 1591-1666, Musei di Strada Nuova
Girolamo Masini, 1882, Galleria d'Arte Moderna di Roma Capitale
Sarah Stern
Artemisia Gentileschi, c.1620, Private collection Cavallini-Sgarbi Foundation, Ferrara, Italy
Peter Paul Rubens , c.1609 - c.1610, National Gallery, London, UK
Rembrandt, 1628
Lucas Cranach the Elder, 1529, Germany, Norther Renaissance
Matthias Stom, c.1630 - c.1639, Palazzo Barberini, Rome, Italy
Erte, Art Deco
Andrea Mantegna, 1495 - 1506, National Gallery, London, UK
Jan Steen, 1668, Los Angeles County Museum of Art (LACMA), Los Angeles, CA, US
Marc Chagall, 1956
Dalila coupe les cheveux de Samson qu'elle a endormi sur ses genoux et, l'ayant ainsi privé de sa force surhumaine, va le livrer aux Philistins qui le guettent (Juges, XVI, 15-18)
Gustave Moreau, 1882, Musée National Gustave Moreau, Paris, France
Alexandre Cabanel, 1878
Luca Giordano, 1696
William Bouguereau, , 1850, Oil on canvas 280.5 x 225.3 cm, Musée d’Orsay, Paris.
Edvard Munch, 1895, Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase
Edvard Munch, 1895, Munch Museum, Oslo, Norway
Eugène Romain Thirion, 1867. Photo via Wikimedia Commons.
Felicien Rops, c.1870, Symbolism
Eric Fischl, 2009, Contemporary Realism
Dante Gabriel Rossetti, 1869, Romanticism: Buscot Park (Faringdon Collection), Faringdon, UK
Guillaume Seignac, Academicism
John William Waterhouse, 1898, Romanticism
Sir Lawrence Alma-Tadema, 1881, Romanticism
William-Adolphe Bouguereau, c.1860, Neoclassicism
Miriam Schapiro, Abstract Expressionism
Odilon Redon, c.1914, Symbolism
Jules Joseph Lefebvre, 1882, Academicism
Cobra/Serpent Goddesses
Vitastjerna's dream from the Gutasaga with the three entwined snakes symbolizing Graip, Gute and Gunfjaun, with her at the bottom, Gotland, Sweden. Now in Fornsalen museum, Visby.
Ua Zit, Wadjet, Wedjat, Eye of Horus
Gustav Klimt, 1900-1907, Klimt University of Vienna Ceiling Paintings. The bottom portion of the Medicine picture, showing Hygieia
copia romana da originale greco del II sec. ac
image from Wikipedia
Alexander Handyside Ritchie, College of Physicians, Queen Street, Edinburgh
image from Wikipedia
Small statue of Hygieia. Mid-2nd century C.E., Archaeological Museum of Rhodes
image from Wikipedia
Statue (head) of the goddess Hygieia, daughter of Asclepius, by the Greek sculptor Scopas (c. 395 BC – 350 BC). From the temple of Athena Alea at Tegea, exhibited at the National Archaeological Museum of Athens.
image from Wikipedia
Venus-Hygieia. Roman, made in Asia Minor, about A.D.200, Getty Villa
image from Wikipedia
Hygieia fountain in the city hall courtyard, Hamburg, Germany
image from Wikipedia, photo by Daniel Schwen
Hygieia fountain in the city hall courtyard, Hamburg, Germany
image from Wikipedia, photo by Daniel Schwen
Buto, Cobra Goddess of Lower Egypt (also known as Ua Zit, Uatchit, Udjat, Wadjet, Wadjit, Edjo). She was portrayed as the Uranus cobra worn on the Pharaoh’s brow.
image from Egyptianmyths.net
Patron goddess of Lower-Egypt
image from The Ancient Egypt site
(painting from the tomb of Nefertari, ca 1270 BC)
image from ferrebeekeeper.wordpress.com
Amenhotep II wearing the Uraeus (painting, ca. 1400 BC)
image from ferrebeekeeper.wordpress.com
from Tutankhamun's tomb, ca 1320 BC
image from ferrebeekeeper.wordpress.com
image from TourEgypt
image from landofpyramids.org
Pantaleon Szyndler, 1889, National Museum in Warsaw
Albrecht Durer, 1507, Northern Renaissance: Museo del Prado, Madrid, Spain
Max Beckmann, 1917, Expressionism
Giovanni Battista Piranesi, Neoclassicism
Salvador Dali, 1941, Realism, Surrealism
Lucas Cranach the Elder, 1530, Northern Renaissance: Kunsthistorisches Museum, Vienna, Austria
Lucas Cranach the Elder, 1528, Northern Renaissance: Uffizi Gallery, Florence, Italy
Thomas Cole, 1827 - 1828, Romanticism
Ford Madox Brown, Romanticism
Frederick Morgan, 1891, Romanticism
Edvard Munch, 1918, Expressionism
Paul Gauguin, 1902; French Polynesia, Post-Impressionism
Fernand Leger, 1935 - 1939, Purism: Musee National Fernand Leger, Biot, France
Lucas Cranach the Elder, c.1538, Germany, Northern Renaissance
Masaccio, c.1427, Early Renaissance: Santa Maria del Carmine, Florence, Italy
Albrecht Durer, 1504, Northern Renaissance: Morgan Library and Museum (Pierpont Morgan Library), New York City, NY, US
Marc Chagall, 1912; Paris, France, Cubism: Saint Louis Art Museum, St. Louis, MO, US
Tamara de Lempicka, 1932, Art Deco
Marc Chagall, 1960; France, Naïve Art (Primitivism)
Parmigianino, c.1531 - c.1539, Mannerism (Late Renaissance): Sanctuary of Santa Maria della Steccata, Parma, Italy
from the 'Stanza della Segnatura' Raphael, c.1508 - 1511, High Renaissance: Vatican Museums, Vatican
Pavel Filonov, 1912 - 1913, Analytical Realism
Peter Paul Rubens, c.1597, Baroque
Marcel Duchamp, c.1910; France, Post-Impressionism: Philadelphia Museum of Art, Philadelphia, PA, US
Francis Picabia, c.1931, Surrealism
Hans Baldung, 1531, Northern Renaissance: Thyssen-Bornemisza Museum, Madrid, Spain
Mabuse, c.1527, Northern Renaissance
Mabuse, 1525, Northern Renaissance
Marc Chagall, 1961; France, Surrealism
James Tissot, c.1875, Symbolism
Ernst Fuchs, 1984, Fantastic Realism
Fernando Botero, 1968, Naïve Art (Primitivism)
Maerten van Heemskerck, c.1550, Mannerism (Late Renaissance)
Victor Brauner, 1923, Expressionism
Wifredo Lam, 1969
Michelangelo, 1512, High Renaissance: Sistine Chapel Paintings
Jean Benoit, Surrealism
Frank Eugene, 1898, Pictorialism
Henri Rousseau, c.1906 - 1907, Naïve Art (Primitivism): Kunsthalle Hamburg, Hamburg, Germany
Adriaen van der Werff (1659–1722): Louvre Museum
Paul Gauguin (1848–1903)
Paul Gauguin (1848–1903): Yale University Art Gallery (Inventory)
Paul Gauguin, 1848–1903
Paul Gauguin, 1892, National Gallery of Art, Washington, D.C.
Carlos Alonso, 1965, Expressionism
John Collier, 1886
Mark Rothko, 1945, Surrealism
Kiki Smith, 1994, Feminist Art
Dante Gabriel Rossetti, 1868, Romanticism: Delaware Art Museum, Wilmington, DE, US
According to ancient Judaic myth, Lilith is "the first wife of Adam" and is associated with the seduction of men and the murder of children. She is shown as a "powerful and evil temptress" and as "an iconic, Amazon-like female with long, flowing hair."
Lilith, Adam's First Wife, illustration from the poem Faust, from Goethe's Walpurgisnacht/ Walpurgis Night; Ernst Barlach: 1923, McMaster Museum of Art
Publisher: CASSIRER, Paul
Dimensions: Block: 19.2 x 14.3 cm (7 9/16 x 5 5/8 in.) Support: 31.4 x 23.2 cm (12 3/8 x 9 1/8 in.)
Medium: Woodcut on paper
John Sartain, 1885, Engraving depicting Caesar Augustus' now lost painting of Cleopatra VII in encaustic, which was discovered at Emperor Hadrian's Villa (near Tivoli, Italy) in 1818. She is seen here wearing the golden radiant crown of the Ptolemaic rulers (Sartain, 1885, pp. 41, 44) and being bitten by an asp in an act of suicide. She also wears the knot of Isis (i.e. tyet) around her neck, which corresponds to Plutarch's description of her wearing the robes of the Egyptian goddess Isis (Plutarch's Lives, translated by Bernadotte Perrin, Cambridge, MA: Harvard University Press; London: William Heinemann Ltd., 1920, p. 9.)
Guido Cagnacci, 1659, Kunsthistorisches Museum
image via Wikipedia
Edmonia Lewis, carved 1876, marble, Smithsonian American Art Museum, Gift of the Historical Society of Forest Park, Illinois, 1994.17
Cleopatra (69 — 30 BCE), the legendary queen of Egypt from 51 to 30 BCE, is often best known for her dramatic suicide, allegedly from the fatal bite of a poisonous snake. Here, Edmonia Lewis portrayed Cleopatra in the moment after her death, wearing her royal attire, in majestic repose on a throne. The identical sphinx heads flanking the throne represent the twins she bore with Roman general Marc Antony, while the hieroglyphics on the side have no meaning. Lewis was working at a time when Neoclassicism was a popular artistic style that favored classical, Biblical, or literary themes—thus Cleopatra was a common subject. Unlike her contemporaries who often depicted an idealized Cleopatra merely contemplating suicide, Lewis showed the queen’s death more realistically, after the asp’s venom had taken hold—an attribute viewed as “ghastly” and “absolutely repellant” in its day (William J. Clark, Great American Sculpture, 1878). Despite this, the piece was first exhibited to great acclaim at the Centennial Exhibition in Philadelphia in 1876 and critics raved that it was the most impressive American sculpture in the show. Not long after its debut, however, Death of Cleopatra was presumed lost for almost a century—appearing at a Chicago saloon, marking a horse’s grave at a suburban racetrack, and eventually reappearing at a salvage yard in the 1980s. The Museum has an online exhibit that documents the statue’s storied history and conservation.
Juan Luna, 1881, Museo del Prado
image via Wikipedia
Guercino, 1648, Musei di Strada Nuova
image via Wikipedia
detail from the Tomb of Francis II, Duke of Brittany and his wives, Cathedral of Sts. Peter and Paul, Nantes, France
detail from Cassone made for Lorenzo Morelli, portrait attributed to Domenico de Zanobi, Courtauld Gallery
photo from Art Mirrors Art
Andrea della Robbia, Italian, c. 1475, Metropolitan Museum of Art
Purchase, Joseph Pulitzer Bequest, 1921
Bernhard Strigel, Northern Renaissance
Franz Stuck, 1891, Private Collection, image via WikiArt
Franz Stuck, 1893, Neue Pinakothek, Munich, Germany, image via WikiArt
Egypt, 2nd century A.D., Los Angeles County Museum of Art, image via Wikimedia Commons courtesy of LACMA
Judy Chicago, Snake Goddess Place Setting (from The Dinner Party), 1979; Mixed media; Collection of Brooklyn Museum, Brooklyn, NY; Photo courtesy of Betty Boyd Dettre Library & Research Center, National Museum of Women in the Arts; © Judy Chicago
Python was a Greek serpent goddess, daughter of Gaea, who guarded the oracle of Delphi on Mount Parnassus until she was slain by Apollo who claimed the oracle as his own.
“The shrine that perhaps offers the deepest insight into the connections of the female deity of Greece to the Serpent Goddess of Crete is Delphi. [...] In the earliest times, the Goddess at Delphi was held sacred as the one who supplied the divine revelations spoken by the priestesses who served Her. The woman who brought forth the oracles of divine wisdom was called the Pythia. Coiled about the tripod stool upon which she sat was a snake known as Python ... described in the earliest accounts as female [. . . ]
It was the priestesses who most often supplied the respected counsel.”
— Merlin Stone, When God Was a Woman
The Cobra Goddess Ua Zit was revered on the Nile Delta in pre-dynastic Egypt as the Uraeus serpent, the Eye, featured on the foreheads of Egyptian deities and royalty.
This Egyptian serpent goddess is also known as Buto, Uto, Wadjet, Wedjat, or Bast — worshipped in Lower Egypt, usually portrayed as a woman or a cobra wearing the crown of lower Egypt. She was also associated with images of Au Set (Isis) and may have been connected to the Sumerian belief in Ama Usum Gal Ana, Great Mother Serpent of Heaven.
She may also have survived in the Arabian Goddess Al Uzza who was regarded as either Venus or Sirius.
The most sacred centre of the worship of Ua Zit was the Delta town of Per Buto (the Greek Buto), said to lie beneath modern day Dessuk. Buto was regarded as one of the most important oracle sites of Egypt at the time of Classical Greece.
The placement of the Ua Zit Cobra on the forehead is comparable to the Indian concept of the Shakti Kundalini serpent rising to the Ajna Chakra, considered the Third Eye of Wisdom
Closely associated with Horus the Elder, and the counterpart to the Upper Egyptian Goddess Nekhbet, she was called “Lady of Heaven” and “Queen of all Gods”.
She was depicted as either carrying a papyrus stem around which a cobra was coiled, or as simply as a cobra coiled in a basket wearing the crown of Lower Egypt. She is also called “the Lady of the Flames, and considered a protector goddess because she spits out her venom against the enemies of the king.
She was depicted either as a cobra or snake with a woman’s torso; or as a woman with a snake’s head, a two-headed snake, or a woman wearing the uraeus. Wadjet was associated with the Milky Way–the primal serpent. In later dynasties she was elided with the goddess Bast, combining the attributes of a lion and a cobra.
Judy Chicago’s installation artwork The Dinner Party includes a place setting for the Snake Goddess.
Hygieia
Hygieia is the Greek Goddess of Health, Cleanliness and Sanitation. She was also the daughter or wife of Asclepius, the God of Healing and Medicine.
She has often been depicted as a young woman feeding a large snake which is wrapped around her body or drinking from a jar she carries.
The Bowl of Hygieia is one of the symbols of pharmacy, as is the Rod of Asclepius depicted as a rod with a snake entwined around it.
The World Health Organization uses the Rod of Asclepius in their logo.
The caduceus is a staff carried by the god Hermes.
The image of two serpents entwined around an axial rod may also be the origins of the caduceus, which first appeared as a symbol of God/Goddess Ningishzida, a Mesopotamian underworld deity considered to be the god or goddess of medicine, nature and fertility.
The caduceus, depicted with intertwined snakes and wings, has been used as a symbol of healthcare and medical practice although in Greek mythology it was intended as a symbol of commerce and negotiation, balance, exchange and reciprocity. see the US Army Medical Corps
Lilith
Lilith is a character in the Apocrypha, hidden writings removed from the Bible. Lilith is Adam’s first wife, created as his equal. Lilith, however refused to sleep or serve under Adam. When Adam tried to force her into the “inferior” position it is said that she flew away, copulated with demons and refused to return to Adam.
Eve
Eve is a character in the Book of Genesis in the Hebrew Bible and also in the Quran. She is said to be Adam’s second wife.
In Genesis 2, Eve is created by God (Yaweh); taken from the rib of Adam to be his companion. The two are given the task of guarding and keeping the Garden of Eden. Adam is instructed that they are forbidden to eat the fruit from the tree of the knowledge of good and evil. Although Eve is apparently not present when God commands Adam not to eat the fruit, it is understood that she is aware of the command.
One day, however, a wily serpent (with legs) speaks to her and entices her to taste the forbidden fruit. Eve succumbs and shares the fruit with Adam. Having eaten the fruit, the pair become aware of their nakedness and hurriedly construct some garments to cover themselves.
All of this incurs the wrath of God. The three are then judged and subsequently expelled from the Garden of Eden. Eve (and all resultant womankind) is cursed with a life of sorrow, the pain of childbirth and a subservient relationship to her husband; and the serpent is cursed to crawl on its belly the rest of its days.
In some versions of the story the serpent is equated with Satan, and Eve’s sin is equated with sexual temptation.
Prudence
Known as one of the Cardinal Virtues (Justice, Temperance, Courage and Prudence) Prudence is often depicted holding the mirror of truth in her left hand, symbolizing the reflection of every thought which must wisely contemplated and assessed; and holding a compass in her right hand, symbolizing the extent of any action; accompanied by a snake, or two. Often she is depicted with two faces: at the front, a young woman looking to the future while at the back of her head is seen an old man implying the wisdom of the past.
Cleopatra
References
- New Larousse Encyclopedia of Mythology, Paul Hamlyn, Hong Kong, 1968
- When God Was A Woman, Merlin Stone, Harvest HBJ Edition, USA, 1976
- Ancient Mirrors of Womanhood, Merlin Stone, Beacon Press, Boston, 1984
- The Language of the Goddess, Marija Gimbutas, Harper & Row, San Francisco, 1921
- https://en.wikipedia.org/wiki/Hygieia
- https://en.wikipedia.org/wiki/Minoan_snake_goddess_figurines
- https://www.brooklynmuseum.org/opencollection/objects/166069
- https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/snake_goddess
- https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/python
- https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/bu to
- https://artmirrorsart.wordpress.com/2015/07/19/prudence-at-her-toilette/
- https://en.wikipedia.org/wiki/Rod_of_Asclepius
- http://www.egyptianmyths.net/buto.htm
- http://www.ancient-egypt.org/religion/pantheon/uto.html
- https://ferrebeekeeper.wordpress.com/tag/buto/
- http://www.landofpyramids.org/two-ladies.htm
- https://mylittleoccultshop.blogspot.com/2017/07/the-wadjet.html
Amanta Scott, encaustic on canvas on panel, 108.5 x 108.5 x 5.75 cm (framed), 2019-2021