Katalog zbiorów malarstwa krajów romańskich, red. Bożena Steinborn, Wrocław 2012, seria Katalogi zbiorów Muzeum Narodowego we Wrocławiu, s. 44-47, kat. 11, il. s. 45, 46
Steinborn, Bożena, Katalog zbiorów malarstwa krajów romańskich, Wrocław 1982, s. 36-38, kat. 9
Hercules embraces the Lydian queen Omphale, leaning onto him, who bought the famous hero at the slaves market. Forced to do woman's work spinning yarns, he is wearing a garland on his head,holding a spindle in one hand, whilst in the other his already recovered club. This motif, taken from Greek mythology, was popular in the operas staged in the 17th and 18th centuries.The painter offered here its highly original synthesis: by exchanging male and female attributes, the lovers became one not only in bodily but also in spirit. Now they are both in each other's power – the queen, with the hero's lion pelt draped on her shoulder, abandones herself to her hostage's affections, whilst he temporarily exchanges his weapon for ladylike activities and friendly embraces. The dark greenish background sets off the pale, porcelain hues of the female body and the more casually painted male figure, whose warm tone arrives the colour of the Armenian bole primer showing through the glaze. The characteristic qualities of Venetian paintings, with their softly shaped form allowing to represent reality – not through drawing but using colour – were further enhanced by the strong chiaroscuro effect. Celesti contrasts the figures of the lovers, whose contorted poses – yet perfectly depicting their amorous embrace – originate from Mannerism. This Venetian artist employed, among others, at the Doge's Palace, later moved on to Brescia and Toscolano, before returning to the city of Giorgione and Tintoretto around 1700. The echoes of these two masters can be seen in his works, whose sophisticated sensuality was later admired by Rococo painters, e.g. Jean-Honore Fragonard.
[Beata Lejman]
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