The other day I mentioned to my sister, Ryma, that there was an exhibition at the Minneapolis Institute of Art (MIA) that I wished I could see before it closed in early May. Knowing this sister, I should have expected soon to be in a car headed to Minneapolis. I learned at an early age (“Hey, I wonder what it would be like to have hand lotion squirted up your nose?”) not to put an idea into her head unless I was ready to see (feel) it carried through.
So, yesterday, with no reading events scheduled, Ryma, our friend, Becky, and I drove the four hours to the Cities, and took in those gorgeous Diana paintings by Titian (Diana and Actaeon, and Diana and Callisto) that anchored the exhibition:
When we were at the MIA I kept waiting for one of the docents leading groups through the exhibition to ask for some questions about the methods of that interesting artificer, Jupiter, who had disguised himself as the goddess of the hunt (not to mention chastity), Diana, in order to seduce one of her maidenly followers, Callisto. But they weren’t going there in any detail. Titian’s painting doesn’t focus on that seduction either, but rather on the moment of shame and banishment when the real Diana discovers that Callisto is pregnant.