Editing Pluto (mythology) (section)

=== Fine art ===
[[File:Dürer - Die Entführung auf dem Einhorn - Herzog Anton Ulrich-Museum.png|thumb|[[Albrecht Dürer]], ''Abduction of Proserpine on a Unicorn'' (1516)]]
[[File:Rembrandt - The Rape of Proserpine - Google Art Project.jpg|thumb|Rembrandt's ''Abduction of Proserpina'' (''ca.'' 1631)]]
The abduction of Proserpina by Pluto was the scene from the myth most often depicted by [[fine art|artists]], who usually follow Ovid's version. The influential emblem book ''[[Iconologia]]'' of Cesare Ripa (1593, second edition 1603) presents the allegorical figure of Rape with a shield on which the abduction is painted.<ref>Frederick Kiefer, ''Shakespeare's Visual Theatre: Staging the Personified Characters'' (Cambridge University Press, 2003), pp. 60–61.</ref> [[Jacob Isaacsz. van Swanenburg]], the first teacher of [[Rembrandt]], echoed Ovid in showing Pluto as the target of [[Cupid]]'s arrow while [[Venus (mythology)|Venus]] watches her plan carried out (location of painting unknown). The [[:File:Ovid Met 5 395ff – Rubens – Pluto taking Proserpina.jpg|treatment of the scene]] by [[Rubens]] is similar. Rembrandt incorporates Claudian's more passionate [[characterization]]s.<ref>Amy Golahney, "Rembrandt's Abduction of Proserpina," in ''The Age of Rembrandt: Studies in Seventeenth-Century Dutch Painting'' (Penn State University Press, 1988), p. 30; Eric Jan Sluijter, ''Rembrandt and the Female Nude'' (Amsterdam University Press, 2006), pp. 109–111.</ref> The performance of Orpheus in the court of Pluto and Proserpina was also a popular subject.

Major artists who produced works depicting Pluto include:
* [[Albrecht Dürer|Dürer]], ''Abduction of Proserpine on a Unicorn'' (1516), [[etching]]. Dürer's first English biographer called this work "a wild, weird conception" that "produces a most uncomfortable, shuddering impression on the beholder."<ref>[[Mary Margaret Heaton]], ''The History of the Life of Albrecht Dürer of Nürnberg'' (London, 1870), p. 187; Walter L. Strauss, ''The Complete Engravings, Etchings, and Drypoints of Albrecht Dürer'' (Dover, 1973), p. 178.</ref> The source or significance of the [[unicorn]] as the form of transport is unclear; Dürer's preparatory drawing showed a conventional horse. Pluto seems to be presented in a manner that recalls the [[Wild Hunt#Leader of the Wild Hunt|leader of the Wild Hunt]].<ref>Strauss, ''The Complete Engravings'', p. 178.</ref>
*[[Caravaggio]], ''Jupiter, Neptune, and Pluto'' (Italian ''Giove, Nettuno e Plutone'', ''ca.'' 1597), a [[mural|ceiling mural]] (pictured under [[#Orphic and philosophical systems|Theogonies and cosmology above]]) intended for viewing from below, hence the unusual perspective. Caravaggio created the work for a room adjacent to the [[alchemy|alchemical]] [[Distillation#History|distillery]] of [[Cardinal (Catholic Church)|Cardinal]] [[Francesco Maria Del Monte]], his most important [[patronage|patron]]. The three gods hover around a translucent globe that represents the world: Jupiter with his eagle, Neptune holding a bident, and Pluto accompanied by a bluish-gray horse and a [[Cerberus]] who resembles a three-headed [[Border Collie|border collie]] more than a [[hellhound]]. In addition to personifying the [[classical elements]] [[Air (classical element)|air]], [[Water (classical element)|water]], and [[Earth (classical element)|earth]], the three figures represent "an allegory of the [[applied science]] of alchemy".<ref name="Gilbert-p124-125" />
* [[Jan Brueghel the Elder]], [[:File:Jan Brueghel (I) - Orpheus in the Underworld - WGA03564.jpg|''Orpheus before Pluto and Proserpina'']] (1604), painting.<ref>Entry on "Orpheus," ''The Classical Tradition'' p. 665.</ref>
* [[Gian Lorenzo Bernini|Bernini]], ''Pluto and Proserpina'' (1621–22), also known as ''[[The Rape of Proserpina]]'', sculpture with a Cerberus looking in three different directions.<ref>Entry on "Sculpture," ''The Classical Tradition'', p. 870.</ref>
* [[Rembrandt]], ''Abduction of Proserpina'' (''ca.'' 1631), painting influenced by Rubens (via the [[engraving]] of his student [[Pieter Soutman]]).<ref>Golahny, "Rembrandt's Abduction of Proserpina," p. 30ff.</ref> Rembrandt's leonine Pluto draws on Claudian's description of the god as like a ravening lion.<ref>Amy Golahny, ''Rembrandt's Reading: The Artist's Bookshelf of Ancient Poetry and History'' (Amsterdam University Press, 2003), pp. 102–103.</ref>