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Abstract

Chapter 1 considers Poussin’s canvases representing Cephalus and Aurora and Diana and Endymion, focusing on the goddesses as sexual predators who snare innocent mortal males, dominating them in love. Their stories reflect a patriarchal inversion in which men project the belief that females control them in love, whereas in Poussin’s time the reverse was normally the case, as exemplified in laws and customs severely restricting women’s sexual activities outside of marriage.

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Troy Thomas:

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Troy Thomas is Associate Professor of Humanities and Art History at The Pennsylvania State University, Harrisburg. His publications include a book, Caravaggio and the Creation of Modernity (2016), and two recent articles, "William Blake and Dead Man," Adaptation and "Poussin, Gombauld, and the Creation of Diana and Endymion," Art History.

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Publication date (Print): August 11 2020

Pages: 95-122

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[1 ] The Pennsylvania State University

DOI: 10.5117/9789463721844_ch01

SO-VID: 2a99bd7a-6580-4f88-940a-d47a6d85c1cf

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