big hats for fine wimmin

 

... to be continued ... as & whenever ...

chola bronze sculptures ... a scrapbook

 

https://imp-art.org/articles/chola-bronze-sculptures/

https://en.wikipedia.org/wiki/Chola_Empire

https://www.rarebooksocietyofindia.org/book_archive/196174216674_10150434296806675.pdf

... to be continued ... as & whenever ...

wimmin in white ... scrapbook ... number xxiii ... number 23 ...

 

... to be continued ... as & whenever ...

anton seder ... a tiny sample from his vast output ...

 

https://publicdomainreview.org/collection/das-thier-in-der-decorativen-kunst/

RICHARD ANUSZKIEWICZ ... not sure how i missed his very existence ... i am in awe of his precision and discipline and sensitivity to pure colour

https://en.wikipedia.org/wiki/Richard_Anuszkiewicz

http://www.richardanuszkiewicz.com/

an ANISH KAPOOR scrapbook ...

 

https://serenademagazine.art/anish-kapoor-returns-to-venice-with-a-monumental-exhibition-at-palazzo-manfrin/

https://en.wikipedia.org/wiki/Anish_Kapoor

https://publicdelivery.org/anish-kapoor-leviathan/

... to be continued ... as & whenever ....

Jan Gossaert ... his self portrait ... and some others

 

https://en.wikipedia.org/wiki/Jan_Gossaert

... to be continued ... as and when ...

masks ... part 14 ... part XIV ...

 

... to be continued ... as & when ...

OMPHALE ... a strong woman who is given control of Hercules for a year ... i especially like Rubens' version of their relationship, so i asked ChatGPT if omphale's character alters much during the various retellings of her story ... rubens' version is the last of these samples ...

does the character of OMPHALE change much as her myth is retold ?

Yes. Omphale shifts quite a bit depending on who is telling the story, when it’s being retold, and what the author wants the myth to emphasize.

At the core of the myth, she is the queen of Lydia who temporarily owns or commands Heracles after he is sold into servitude. The famous image is the reversal of gender roles: Heracles wears women’s clothing and spins wool, while Omphale may wear his lion skin or carry his club. But the meaning of that setup changes dramatically across retellings.

In early Greek traditions

In older Greek sources, Omphale is often portrayed as:

• powerful and authoritative,
• sexually confident,
• politically legitimate as a queen,
• and capable of controlling even the greatest hero.

The tone is not always mocking. Some versions treat the relationship as transformative for Heracles: his servitude becomes part of his purification after killing Iphitus. Omphale’s authority is real, not just comic.

Ancient authors sometimes frame her as clever, cultured, and civilized in contrast to Heracles’ violence.

In Classical and Roman retellings

Later writers, especially Roman ones such as Ovid, often lean harder into:

• eroticism,
• comedy,
• humiliation,
• and gender inversion.

The image of Heracles cross-dressing becomes a spectacle. Omphale can appear flirtatious, teasing, or manipulative rather than simply regal. The myth becomes a way to explore anxieties about masculinity, desire, and power.

Roman art especially loved the visual contrast:

• the hyper-masculine hero made “soft,”
• and the queen adopting heroic symbols.

In medieval and Renaissance interpretations

Omphale’s character changes again because later European writers often moralized classical myths.

She could become:

• a warning about female temptation,
• an example of male weakness,
• or a symbol of lust overcoming reason.

In some Renaissance paintings and literature, she is portrayed almost as a dominatrix figure controlling Hercules. The emphasis shifts away from her political status and toward the danger of feminine power.

In modern interpretations

Contemporary retellings tend to reinterpret Omphale more sympathetically or psychologically.

Modern classicists, novelists, and feminist readings often see her as:

• a rare example of female authority in myth,
• a challenge to rigid gender roles,
• or part of a more reciprocal relationship with Heracles.

Some modern works treat the period with Omphale as one of the few times Heracles learns restraint, domesticity, or emotional vulnerability rather than constant conquest.

There’s also more interest now in how the myth destabilizes binary ideas of masculinity and femininity instead of simply mocking role reversal.

What stays consistent

Across most versions, a few elements remain stable:

• Omphale is powerful enough to command Heracles.
• The relationship involves reversal or exchange of social/gender symbols.
• Her presence temporarily transforms the hero’s identity.

But how that transformation is interpreted changes a lot:

• purification,
• humiliation,
• erotic play,
• political allegory,
• satire,
• or gender critique.

So Omphale herself evolves from sovereign queen, to seductive controller, to moral warning, to potentially subversive or empowering figure depending on the cultural moment retelling the myth.