Editing Actaeon (section)

==Cultural depictions==
[[File:Actaeon.jpg|thumb|''[[Death of Actaeon]]'' by [[Titian]]]]
[[File:Diana and Actaeon Statutes (1925) by Paul Manship 03 (cropped).JPG|thumb|''Actaeon'' by [[Paul Manship]]]]
[[File:Vasiliy Ryabchenko. "The Death of Actaeon", 200 х 300 cm, oil on canvas, 1988.jpg|thumb|[[Vasiliy Ryabchenko]], ''The Death of Actaeon'', oil on canvas, 1988]]
The two main scenes are Actaeon surprising Artemis/Diana, and his death. In classical art Actaeon is normally shown as fully human, even as his hounds are killing him (sometimes he has small horns), but in Renaissance art he is often given a deer's head with antlers even in the scene with Diana, and by the time he is killed he has at the least this head, and has often completely transformed into the shape of a deer.

* [[Aeschylus]] and other tragic poets made use of the story, which was a favourite subject in ancient works of art.{{sfn|Chisholm|1911}}
* There is a well-known small marble group in the [[British Museum]] illustrative of the story,{{sfn|Chisholm|1911}} in gallery 83/84.<ref>{{cite web|url=http://www.thebritishmuseum.ac.uk/explore/galleries/ancient_greece_and_rome/rooms_83-84_roman_sculpture.aspx |title=Rooms 83-84: Roman sculpture |publisher=British Museum |access-date=2014-04-08}}</ref>
*Two paintings by the 16th century painter [[Titian]] (''[[Death of Actaeon]]'' and ''[[Diana and Actaeon (Titian)|Diana and Actaeon]]'').
*''[[Actéon (opera)|Actéon]]'', an operatic pastorale by [[Marc-Antoine Charpentier]].
* [[Percy Bysshe Shelley]] suggests a parallel between his alter-ego and Actaeon in his elegy for [[John Keats]], ''[[Adonais]]'', stanza 31 ('[he] had gazed on Nature's naked loveliness/ Actaeon-like, and now he fled astray/ .../ And his own thoughts, along that rugged way,/ Pursued, like raging hounds, their father and their prey.')
* The aria "Oft she visits this lone mountain" from [[Henry Purcell|Purcell's]] ''[[Dido and Aeneas]]'', first performed in 1689 or earlier.
* [[Giordano Bruno]], ''Gli Eroici Furori''.
* In canto V of [[Giambattista Marino]]'s poem {{ill|Adone|it|L'Adone|italic=y}} the protagonist goes to theater to see a tragedy representing the myth of Actaeon. This episode foreshadows the protagonist's violent death at the end of the book.
* In Act I Scene 2 of [[Jacques Offenbach]]'s ''[[Orpheus in the Underworld]]'', Actaeon is Diana (Artemis)'s lover, and it is Jupiter who turns him into a stag, which puts Diana off hunting. His story is relinquished at this point, in favour of the other plots.
* [[Ted Hughes]] wrote a version of the story in his ''[[Tales from Ovid]]''.
* [[Diane and Actéon Pas de Deux]] from [[Marius Petipa]]'s ballet, ''[[Le Roi Candaule]]'', to the music by [[Riccardo Drigo]] and [[Cesare Pugni]], later incorporated into the second act of ''[[La Esmeralda (ballet)]]''.
* In ''[[Twelfth Night]]'' by [[William Shakespeare]], Orsino compares his unrequited love for Olivia to the fate of Actaeon. "O, when mine eyes did see Olivia first, Methought she purged the air of pestilence, That instant was I turned into a hart, and my desires like fell and cruel hounds e'er since pursue me." Act 1 Scene 1.
* In [[Christopher Marlowe]]'s play ''[[Edward II (play)|Edward II]]'', courtier [[Piers Gaveston, 1st Earl of Cornwall|Piers Gaveston]] seeks to entertain his lover, King [[Edward II of England]], by presenting a play based on the Actaeon myth. In Gaveston's version, Diane is played by [[Edward II (play)#Synopsis|a naked boy holding an olive branch to hide his loins]], and it is  the boy-Diane who transforms Actaeon into a hart and lets him be devoured by the hounds. Thus, Gaveston's (and Marlowe's) interpretation adds a strong element of [[homoeroticism]], absent from the original myth.
*[[Paul Manship]] in 1925 created a set of copper statute of [[Artemis|Diane]] and Actaeon, which in the Luce Lunder [[Smithsonian Institution]].
* French based collective LFKs and his film/theatre director, writer and visual artist Jean Michel Bruyere produced a series of 600 shorts and "medium" films, an interactive 360° installation, ''Si poteris narrare licet'' ("if you are able to speak of it, then you may do so")<ref>''What Is Contemporary Art?'' Terry Smith. 10 August 2012. University of Chicago Press. p. 173-81, 186</ref> in 2002, a 3D 360° installation ''La Dispersion du Fils''<ref>{{cite web|url=http://www.newmediaart.eu/str10.html|title=''The Scattering of the Son''|work=The STRP Festival of eindhoven|date=January 2011}}</ref> (from 2008 to 2016) and an outdoor performance, ''Une Brutalité pastorale'' (2000) all about the myth of Diana and Actaeon.
*In [[Matthew Barney]]'s 2019 movie ''Redoubt'' set in the [[Sawtooth Range (Idaho)|Sawtooth Mountains]] of the U.S. state of [[Idaho]] and an accompanying traveling art exhibition originating at the [[Yale University Art Gallery]] the myth is retold by the visual artist and filmmaker via avenues of his own design.<ref>{{Cite news|url=https://www.nytimes.com/2019/03/21/arts/design/matthew-barney-review-yale-university.amp.html |archive-url=https://ghostarchive.org/archive/20220101/https://www.nytimes.com/2019/03/21/arts/design/matthew-barney-review-yale-university.amp.html |archive-date=2022-01-01 |url-access=limited|title=A Lighter Matthew Barney Goes Back to School, and Back Home|newspaper=The New York Times|date=21 March 2019|last1=Farago|first1=Jason}}{{cbignore}}</ref>
*[[Seamus Heaney|Seamus Heaney's]] collection ''[[North (poetry collection)|North]]'' contains an [[aisling]] concerning the myth of Diana and Actaeon.<ref>{{Cite book |last=Heaney |first=Seamus |title=North |publisher=[[Faber and Faber]] |year=1975 |isbn=0-571-17780-8 |location=London |pages=45}}</ref>