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Two Lovers with Pan, published ca. 1599-1622. Creator: Unknown
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Two Lovers with Pan, published ca. 1599-1622. Creator: Unknown
Two Lovers with Pan, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico
Heritage Images features heritage image collections
Media ID 20565929
© Heritage Art/Heritage Images
Battista Franco Battista Franco Veneziano Courting Courtship Cut Out Enea Enea Vico Ex Antiquis Cameorum Four People Giovanni Battista Franco Half Beast Half Man Lover Metropolitan Palm Tree Pan Pipes Philippe Philippe Thomassin Thomassin Thomassin Philippe Veneziano Veneziano Battista Franco Vico Vico Enea Nakedness
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EDITORS COMMENTS
This print titled "Two Lovers with Pan" takes us back to the 16th century, immersing us in a world of love, music, and mythology. The image showcases four people engaged in an enchanting scene of courtship amidst nature's embrace. At the center of attention is Pan, the half-beast, half-man deity known for his musical prowess. He stands tall beside a palm tree, playing his pan pipes with skillful grace. Two lovers stand before him, their nakedness symbolizing vulnerability and purity of emotion. Their gazes meet passionately as they are serenaded by Pan's melodious tunes. The intricate details captured in this engraving reveal the Italian heritage artistry that prevailed during this period. Though its creator remains unknown or attributed to either Battista Franco or Enea Vico, it doesn't diminish the beauty and significance of this piece. The composition evokes a sense of timeless romance and spirituality as it explores themes such as love, religion, and connection with nature. It invites viewers to reflect on the universal experience of courtship throughout history while appreciating the artistic mastery behind every stroke. Displayed at The Metropolitan Museum (The Met), this photograph preserves an exquisite moment frozen in time—a testament to humanity's enduring fascination with love and our eternal pursuit of harmony between ourselves and our surroundings.
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