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Leda and the Swan Painting
Netherlands
Painting, Oil on Canvas
Size: 11.8 W x 9.4 H x 0.6 D in
Ships in a Crate
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About The Artwork
The Greek Leda was born as the daughter of King Thestius of Aetolia. She married Tyndareus who was king of Sparta. There are different stories about their descendants. In any case, they had a daughter together named Clytemnestra. Leda had a number of children with another special man: the supreme god Zeus. He had seen the queen one day and tried to seduce her. Because she was not easy to approach, the god took the form of a swan. When he got close, Zeus impregnated her. The overpowered and stunned Leda went to bed with her husband Tyndareus that very day. Leda then bore Leda two eggs. From one egg came Helena, who is considered the most beautiful woman of classical antiquity. From the other egg came two sons called the Dioscuri. They are also called the divine children of Zeus. The boys were named Pollux (Polydeukes) and Castor (Kastor).
Details & Dimensions
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:11.8 W x 9.4 H x 0.6 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Crate
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Netherlands.
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Netherlands
Ton Bartels is a Dutch artist. He studied at the Gerrit Rietveld Academy, where he graduated in 1978. He lives and works in Houten, Netherlands. Characteristic are his artistic reconfigurations of well-known iconic images from Greek mythology with forays into other art history subjects. Ton Bartels’ posthistorical work carefully examines the linearity of the historical perspective embedded in our visual understanding of the past. Alternately described as both ‘an unfettered spirit turned artist’ and ‘a contemporary iconoclastic’, his art takes a space beyond our traditional understanding of history to become a bridge between different eras and its new form of visual language. Bartels’ hybrid aesthetic is challenging. He uses a high level of craftsmanship that is based on classical techniques in combination with a twenty-first-century view of the possibilities of image editing, in which an almost Fauvist brushwork is leading.
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