Felicia Wahlström (Harteus) Leda and the Swan
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Jean-Léon Gérôme: Leda and the Swan (1895)
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Marlene Dietrich in a garment of feathers and silk, 1935
Dietrich was inspired by the art subject of classic beauty, Leda and the Swan when she chose her costume for a party hosted by the Countess Di Frasso
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"leda and the swan", created by travis banton and worn by marlene dietrich at a costume party for the countess di frasso, c. 1935 .
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“Leda and the Swan” (1962), by Cy Twombly
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Ambiguous by Nature
I wanted to share a beautiful rendition of Leda and the Swan by the renowned Irish poet William Butler Yeats (1865-1939). It comes from Wisconsin artist Mark Brueggeman, who taught in the Department of Art and Design at the University of Wisconsin-Stevens Point for 27 years. He is a versatile, talented artist known for his work in stain-glass, painting, drawing, and printmaking. This work has now extended his work to include the roles of both publisher and illustrator. According to a quote from hiddenstudiosarttour.com, Brueggeman states he has “always enjoyed the look of text incorporated into drawings and paintings.”
Brueggeman's artwork is a rare gem, a testament to his meticulous craftsmanship. Printed in an edition of 15 copies at Brueggeman's Atelier Vermeil Studio in 2015, the work is a blend of letterpress and intaglio prints on Root River Mill paper handmade by the artist and several of his colleagues, and published as a portfolio of broadsides.
The poem, rooted in a Greek myth about a sexual encounter between the immortal god Zeus and the beautiful Spartan queen Leda, presents a unique perspective. In Yeats’ version, he offers a provocative and ambiguous account of a sexual act. Brueggeman's visual interpretation of the poem adds another layer of intrigue, leaning into the vague nature of the poem itself.
The artwork and poetry blend seamlessly, taking on a sensual yet brutal quality. They intentionally leave much to the reader's imagination, allowing for various interpretations and assumptions. However, one thing is certain in the poem and the artist’s rendering: following the rash and impulsive act, Leda is left on her own, carrying the knowledge of the future consequences that their union has created.
-Melissa, Special Collections Classics Intern
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Jean Frédéric Maximilien de Waldeck Leda and the Swan
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Eric Gill (British, 1882–1940)
Frontispiece engraving for Aldous Huxley's Leda (Garden City, NY: Doubleday, Doran & Co., 1929)
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Edmund Lowe, Marlene Dietrich and Loretta Young, 1935
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