Diana and Actaeon

This art piece refers to a classic episode: Actaeon was taught the art of hunting by his father or maybe by centaur Chiron. He insulted Diana either because he pretended to overcome her in hunting, or because, during a hunt, he surprised her naked, as documented in the sculpture, and not with the typical hunter clothing, while she was bathing in the source of mount Cithaeron. In order for him not to boast of it, the goddess turned him into a deer and his dogs devoured him. The vanishing of their master saddened the dogs, so centaur Chiron modelled a statue of Actaeon so much resembling that they calmed down. This latter motif is the most frequently represented in art; but, besides the adherence to the myth, here in the chest and the head of Actaeon, we can identify memories and reminiscences from Selinunte, matured by Andreotti in his Palermo stay and revised after some years. He himself wrote in a brief note: “In Palermo I liked the Metope of Selinunte, I never forgot them in Florence, and the Giotto bas-reliefs appeared to me of the same kind”. It dates back to this time (1914 ca.) the most grand and theatrical sculpture of Andreotti and, together with the more balanced artworks (Woman with cymbals, Dancer, Modern Venus), it is the most meaningful witness of the full conscience and taste of the vivacious Parisian atmosphere, also beyond the well-defined Rodin-Bourdelle frontier, not exempt from Maillol and the Viennese Secession reflections. The art piece was commissioned by Philip Sasson for the Hite residence (near London) and was to be placed in the park over a great balustrade, one opposite the other: Diana in the act of freeing her dogs, Actaeon ready to defend himself. The artwork must have satisfied Andreotti who had a second casting made (Vignali) of the dogs alone, as a sole piece. Enrico Sacchetti in Vita d’artista/Life of the Artist writes that with this art piece Andreotti succeded ‘at last’ in telling some ancient truth with a new accent. He proceeds calmly and confidently while dominating the shape in happy and full agreement with grace and force. He adds to have seen him dealing with the models for days and days: two majestic black, shiny and leaping greyhounds for the dogs and a young African boxer for Actaeon.

Floor:
Room: Early Works
Year: 1913-14
Author: Libero Andreotti