Paesaggio con Apollo e le Muse. Artista: Claude Lorrain (Claude Gellée) (francese, Chamagne 1604/5?-1682 Roma). Dimensioni: 9 3/8 x 12 5/8 in. (23,8 x 32,1 cm). Data: 1674. Questo lavoro appartiene a un gruppo di cinque disegni datata 1674 che rendono testimonianza a Claude nel suo continuo interesse per il tema di Apollo e le Muse sul monte Parnaso. Questo argomento è stato molto popolare nella Roma del Seicento: si è presentato in uno dei celebri dipinti murali che Raffaello aveva dipinto in Vaticano, e ciò è servito a glorificare il patrono in questione come un protettore delle arti. Uno di Claude più ambizioso dipinti aveva essere
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Landscape with Apollo and the Muses. Artist: Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?-1682 Rome). Dimensions: 9 3/8 x 12 5/8 in. (23.8 x 32.1 cm). Date: 1674. This work belongs to a group of five drawings dated 1674 that bear witness to Claude's ongoing interest in the theme of Apollo and the Muses on Mount Parnassus. This subject was very popular in 17th-century Rome: it was featured in one of the celebrated murals that Raphael had painted in the Vatican, and it served to glorify the patron concerned as a protector of the arts. One of Claude's most ambitious paintings had been Landscape with Parnassus (National Gallery of Scotland, Edinburgh), commissioned in 1652 by cardinal Camillo Astalli-Pamphilj, the nephew of the then-reigning pope, Innocent X. Twenty-two years later the artist made a series of works exploring the subject anew, including the Metropolitan Museum's drawing. This is the largest of the set; it also stands out for the use of tinted paper and the presence of a massive slanted tree. Unlike the other drawings of the series, the emphasis here is not on a play between a mountain in the foreground on one side and a distant plain on the other, but between the figures huddled on the left and the tree leaning towards the right, which are all set in the same plane, a different way of attaining equilibrium through the counterbalancing of opposites. The result is a frieze-like arrangement, where the eye is offered an outlet into depth only along the right margin. This is where a group of poets heading for Mount Parnassus can barely be made out. The winged horse on the slope of the mountain just above Apollo and the Muses is Pegasus, who has struck the ground and is making the Hippocrene fountain spring, a source of poetic inspiration. Its water reappears at the feet of Apollo and cascades towards the foreground pool, where two swans, birds sacred to Apollo, are floating. A few of the Muses can be identified by virtue of their attributes:
