Fine art print based on Irish history and mythology. This piece depicts osáin and niamh taking flight to the land of immortality. Perfect gift for anyone interested in irish history and mythology.

The legendary Celtic hero Finn MacCool was the leader of the Fianna Éireann, a corps of 3rd-century warriors and hunters that protected Ireland from invasion. Stories of the…

Buy art from Valentina Ginevra Ceraso (Free Shipping, Secured direct purchase): Painting titled "Life"

Incorporating aspects of South American folklore, mythology, and religion, Berlin-based artist Olaf Hajek depicts thoughtful portraits of women and men infused with elements of life—often in their hairdos. Over the last few years Hajek’s illustration work has appeared in major publications from the New York Times to the Guardian, but he also exhibits his acrylic paintings on wood and cardboard in galleries around the world. His most recent collection of work is being published in a forthcoming book titled Olaf Hajek: Precious, and one of his pieces was selected for the Communication Arts Illustration Annual 58. More

Buy art from Valentina Ginevra Ceraso (Free Shipping, Secured direct purchase): Painting titled "Fearn Elf"

Book IX of Ovid's poem contains more stories following the story of Hercules's birth, but the reading selection now skips ahead to Book X which begins with the sad story of Orpheus and Eurydice. Orpheus was the greatest musician of the Greek world, and he was to marry the lovely Eurydice, but on their wedding day, a poisonous snake bit Eurydice and she died. So begins Book X of Ovid's poem. [Notes by LKG] This story is part of the Ovid's Metamorphoses unit. Story source: Ovid's Metamorphoses, translated by Tony Kline (2000). (Orpheus and Eurydice, Corot) Orpheus and Eurydice Hymen, called by the voice of Orpheus, departed, and, dressed in his saffron robes, made his way through the vast skies to the Ciconian coast: but in vain. He was present at Orpheus’s marriage, true, but he did not speak the usual words, display a joyful expression, or bring good luck. The torch, too, that he held, sputtered continually, with tear-provoking fumes, and no amount of shaking contrived to light it properly. The result was worse than any omens. While the newly wedded bride, Eurydice, was walking through the grass, with a crowd of naiads as her companions, she was killed, by a bite on her ankle, from a snake, sheltering there. When Thracian Orpheus, the poet of Rhodope, had mourned for her, greatly, in the upper world, he dared to go down to Styx, through the gate of Taenarus, also, to see if he might not move the dead. Through the weightless throng, and the ghosts that had received proper burial, he came to Persephone, and the lord of the shadows, he who rules the joyless kingdom. Then striking the lyre-strings to accompany his words, he sang: ‘O gods of this world, placed below the earth, to which all, who are created mortal, descend; if you allow me, and it is lawful, to set aside the fictions of idle tongues and speak the truth, I have not come here to see dark Tartarus, nor to bind Cerberus, Medusa’s child, with his three necks, and snaky hair. My wife is the cause of my journey. A viper she trod on diffused its venom into her body, and robbed her of her best years. I longed to be able to accept it, and I do not say I have not tried: Love won. ‘He is a god well known in the world above, though I do not know if it is so here: though I do imagine him to be here, as well, and if the story of that rape in ancient times is not a lie, you also were wedded by Amor. I beg you, by these fearful places, by this immense abyss, and the silence of your vast realms, reverse Eurydice’s swift death. All things are destined to be yours, and though we delay a while, sooner or later we hasten home. Here we are all bound, this is our final abode, and you hold the longest reign over the human race. Eurydice, too, will be yours to command, when she has lived out her fair span of years, to maturity. I ask this benefit as a gift; but, if the fates refuse my wife this kindness, I am determined not to return: you can delight in both our deaths.’ The bloodless spirits wept as he spoke, accompanying his words with the music. Tantalus did not reach for the ever-retreating water; Ixion’s wheel was stilled; the vultures did not pluck at Tityus’s liver; the Belides, the daughters of Danaüs, left their water jars; and you, Sisyphus, perched there, on your rock. Then they say, for the first time, the faces of the Furies were wet with tears, won over by his song: the king of the deep, and his royal bride, could not bear to refuse his prayer, and called for Eurydice. She was among the recent ghosts, and walked haltingly from her wound. The poet of Rhodope received her, and, at the same time, accepted this condition, that he must not turn his eyes behind him, until he emerged from the vale of Avernus, or the gift would be null and void. They took the upward path, through the still silence, steep and dark, shadowy with dense fog, drawing near to the threshold of the upper world. Afraid she was no longer there, and eager to see her, the lover turned his eyes. In an instant she dropped back, and he, unhappy man, stretching out his arms to hold her and be held, clutched at nothing but the receding air. Dying a second time, now, there was no complaint to her husband (what, then, could she complain of, except that she had been loved?). She spoke a last ‘farewell’ that, now, scarcely reached his ears, and turned again towards that same place. Stunned by the double loss of his wife, Orpheus was like that coward who saw Cerberus, the three-headed dog, chained by the central neck, and whose fear vanished with his nature, as stone transformed his body. Or like Olenos, and you, his Lethaea, too proud of your beauty: he wished to be charged with your crime, and seem guilty himself: once wedded hearts, you are now rocks set on moist Mount Ida. Orpheus wished and prayed, in vain, to cross the Styx again, but the ferryman fended him off. Still, for seven days, he sat there by the shore, neglecting himself and not taking nourishment. Sorrow, troubled thought, and tears were his food. He took himself to lofty Mount Rhodope, and Haemus, swept by the winds, complaining that the gods of Erebus were cruel. Three times the sun had ended the year, in watery Pisces, and Orpheus had abstained from the love of women, either because things ended badly for him, or because he had sworn to do so. Yet, many felt a desire to be joined with the poet, and many grieved at rejection. Indeed, he was the first of the Thracian people to transfer his love to young boys, and enjoy their brief springtime, and early flowering, this side of manhood. Next: Ganymede and Hyacinthus (900 words)

Korean Myths About Love take us on a captivating journey through the rich folklore of ancient Korea. These enchanting tales explore themes of love, sacrifice,

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Pandora This piece is one of my Romantic series, and is based on the story of Pandora in Greek Mythology. Here we see Pandora holding the pithos, a storage jar, which contains "countless plagues". I describe my work as narrative, drawing inspiration from diverse stories ranging from Irish legends to familiar fairy tales, from romantic tragedies to the meanderings of James Joyce’s Leopold Bloom, to mention a few. Having an interest in medieval manuscripts and early Christian art has influenced my approach to image making and I frequently use gold and silver leaf in my work, most particularly on pieces that relate to ancient legends. I see some Irish legends as a literary equivalent to found ancient artifacts, affording glimpses into a distant past and I often use fragmented imagery to help convey the antiquity of a story. Image size H 46cm x W 15cm, not including the surround and the provided mount. Printed on 320gm Artists paper All prints come in their own mount, making the print ready for gifting or framing Carefully packaged for shipping Shipping is included in the price within Europe, a charge is added for other countries Complimentary Greeting Card included for gifting

An online school for courses on folklore and fantastic literature

Russian-American artist Victor Nizovtsev /Виктор Низовцев is a masterful oil painter of theatrical figurative composition, fantasy, landscapes, and still life. While his professional art training occurred in Russia, as an artist Victor is a student of rich and diverse experiences. Inspiration for Victor’s art comes from all he sees and touches. It can be Greek mythology, Russian folklore, childhood memories, great Masters of the past, or routine daily life. For biographical notes -in english and italian- and other works by Victor see Victor Nizovtsev, 1965 ~ Siren song.

The world of German folklore and fairy tales is vast with plenty to explore. Read these lesser-known tales from a variety of authors.

Wilhelm Trübner, 1851 – 1917 Battle of the Amazons, 1880 Oil on canvas Height: 47.4 cm (18.66 in.), Width: 102.7 cm (40.43 in.) Kurpfälzisches Museum der Stadt Heidelberg (Germany) In Greek mythology, the Amazons were a race of woman warriors. The legendary Amazons were thought to have lived in Pontus, which is part of modern-day Turkey near the southern shore of the Black Sea. There they formed an independent kingdom under the government of a queen named Hippolyta or Hippolyte. This area is known to have been occupied in the Late Bronze Age by a transhumant group known to the Hittites as the Kaŝka; though they were not directly known to Greeks, modern archaeologists have determined that they finally defeated their enemies, the Hittites, about 1200 BC. According to Plutarch, the Amazons lived in and about the Don river, which the Greeks called the Tanais; but which was called by the Scythians the "Amazon". The Amazons later moved to Terme on the River Thermodon, northern Turkey. More The original Battle of the Amazons is an oil on wood painting produced around 1615. It is usually attributed to Rubens, showing his huge admiration for Leonardo da Vinci and his The Battle of Anghiari. More Wilhelm Trübner (February 3, 1851 – December 21, 1917) was a German realist painter of the circle of Wilhelm Leibl. He was born in Heidelberg and had early training as a goldsmith. In 1867 he met classicist painter Anselm Feuerbach who encouraged him to study painting, and he began studies in Karlsruhe under Fedor Dietz. The next year saw him studying at the Kunstacademie in Munich, where he was to be greatly impressed by an international exhibition of paintings by Leibl and Gustave Courbet. Courbet visited Munich in 1869, not only exhibiting his work but demonstrating his alla prima method of working quickly from nature in public performances. This had an immediate impact on many of the city's young artists, who found Courbet's approach an invigorating alternative to the shopworn academic tradition. Wilhelm Trübner, 1851 – 1917 The Battle of the Lapiths and Centaurs, 1877 Oil on cardboard Height: 94 cm (37.01 in.), Width: 79 cm (31.1 in.) The theme of the painting is taken from Ovid. The Lapiths, a peace-loving people of Thessaly, were celebrating the wedding of their king Pirithous to Hippodamia. The Centaurs were invited but they quickly began to misbehave. One of them, Eurytus, full of liquor, tried to carry off the bride and soon a battle raged in which drinking vessels, table legs, antlers, in fact anything to hand, served as weapons. Blood and brains were scattered everywhere. Finally, thanks chiefly for Theseus, the friend of Pirithous, who was among the guests, the Centaurs were driven off. To the ancients and to the Renaissance the theme symbolized the victory of civilization over barbarism. It was used to decorate Greek temples, notably the metopes of the Parthenon (the 'Elgin marbles'), and was popular with baroque painters. More The early 1870s were a period of discovery for Trübner. He travelled to Italy, Holland and Belgium, and in Paris encountered the art of Manet, whose influence can be seen in the spontaneous yet restrained style of Trübner's portraits and landscapes. During this period he also made the acquaintance of Carl Schuch, Albert Lang and Hans Thoma, German painters who, like Trübner, greatly admired the unsentimental realism of Wilhelm Leibl. This group of artists came to be known as the "Leibl circle". Wilhelm Trübner, 1851 – 1917 Battling Giants, 1877 Oil on cardboard Height: 61 cm (24.02 in.), Width: 49.6 cm (19.53 in.) Museum der Bildenden Künste - Leipzig (Germany - Leipzig) The Giants were a race of great strength and aggression, though not necessarily of great size, known for their battle with the Olympian gods. They were the offspring of Gaia (Earth), born from the blood that fell when Uranus (Sky) was castrated by his Titan son Cronus. Archaic and Classical representations show Gigantes as heavily-armed ancient Greek foot soldiers; fully human in form. In later traditions, the Giants were often confused with other opponents of the Olympians, particularly the Titans, an earlier generation of large and powerful children of Gaia and Uranus. The vanquished Giants were said to be buried under volcanos, and to be the cause of volcanic eruptions and earthquakes. More He published writings on art theory in 1892 and 1898, which express above all the idea that "beauty must lie in the painting itself, not in the subject". By urging the viewer to discover beauty in a painting's formal values, its colors, proportions, and surface, Trübner advanced a philosophy of "art for art's sake". In 1901 he joined the recently formed Berlin Secession, at the time Germany's most important forum for the exhibition of avant-garde art. From 1903 until his death in 1917 he was a professor at the Academy of Arts in Karlsruhe, also serving as director from 1904 to 1910. More Wilhelm Trübner, 1851 – 1917 Pair of Centaurs at a Waterfall, 1880 Oil on canvas Height: 61.5 cm (24.21 in.), Width: 50 cm (19.69 in.) Bayerische Staatsgemäldesammlungen - Munich (Germany - Oberschleißheim) Centaurs are half-human, half-horse creatures in Greek mythology. They have the body of a horse and the torso, head and arms of a man. They were considered to be the children of Ixion, king of the Lapiths, and Nephele, a cloud made in the image of Hera. According to a different myth, however, they were all born from the union of a single Centaurus with the Magnesian mares. More Wilhelm Trübner, 1851 – 1917 Pair of Centaurs in the Woods, 1878 Oil on cardboard Height: 54 cm (21.26 in.), Width: 45 cm (17.72 in.) TRÜBNER, WILHELM, (Heidelberg 1851 - 1917 Karlsruhe) Satyr and centaurs Oil on panel. 36.3 x 28.2 cm A satyr is one of a troop of ithyphallic male companions of Dionysus with goat-like features and often permanent erection. Early artistic representations sometimes include horse-like legs, but in 6th-century BC black-figure pottery human legs are the most common. In Roman Mythology there is a concept similar to satyrs, with goat-like features: the faun, being half-man, half-goat, who roamed the woods and mountains. In myths they are often associated with pipe-playing. Greek-speaking Romans often used the Greek term saturos when referring to the Latin faunus, and eventually syncretized the two. More Wilhelm Trübner, (German, 1851–1917) Prometheus complained of the Oceanids I. , 1888 Oil on Canvas 322 x 230 cm. (126.8 x 90.6 in.) Prometheus was the Titan god of forethought and crafty counsel who was given the task of moulding mankind out of clay. His attempts to better the lives of his creation brought him into conflict with Zeus. Firstly he tricked the gods out of the best portion of the sacrificial feast, acquiring the meat for the feasting of man. Then, when Zeus withheld fire, he stole it from heaven and delivered it to mortal kind hidden inside a fennel-stalk. As punishment for these rebellious acts, Zeus ordered the creation of Pandora(the first woman) as a means to deliver misfortune into the house of man, or as a way to cheat mankind of the company of the good spirits. Prometheus meanwhile, was arrested and bound to a stake on Mount Kaukasos (Caucasus) where an eagle was set to feed upon his ever-regenerating liver (or, some say, heart). Generations later the great hero Herakles (Heracles) came along and released the old Titan from his torture. More The Oceanids are sea nymphs who were the three thousand daughters of the Titans Oceanus and Tethys. Wilhelm Trübner (German, 1851–1917) Prometheus complained of the Oceanids Oil on canvas. 133 x 79 cm Wilhelm Trübner (German, 1851–1917) Prometheus complained of the Oceanids Detail Wilhelm Trübner (German, 1851–1917) Prometheus complained of the Oceanids Detail Trübner painted five versions of the theme of Prometheus. The 1889 version follows the "Prometheus Bound" by Aeschylus, where he appears attached to the rock, punished for having given fire to men. More Wilhelm Trübner (German, 1851–1917) Pomona, c. 1898 Oil on cardboard 81 cm (31.89 in.), Width: 42 cm (16.54 in.) Staatliche Kunsthalle Karlsruhe (Germany - Karlsruhe) Pomona was a goddess of fruitful abundance in ancient Roman religion and myth. Her name comes from the Latin word pomum, "fruit," specifically orchard fruit. She was said to be a wood nymph. Pomona scorned the love of the woodland gods, but married Vertumnus after he tricked her, disguised as an old woman. She and Vertumnus shared a festival held on August 13. The pruning knife was her attribute. There is a grove that is sacred to her called the Pomonal, located not far from Ostia, the ancient port of Rome. Unlike many other Roman goddesses and gods, she does not have a Greek counterpart. She watches over and protects fruit trees and cares for their cultivation. She was not actually associated with the harvest of fruits itself, but with the flourishing of the fruit trees. In artistic depictions she is generally shown with a platter of fruit or a cornucopia. More School of Wilhelm Trübner (1851–1917) Youth in armor Oil on canvas 106 × 87.5 cm (41.7 × 34.4 in) Palais Dorotheum Images are copyright of their respective owners, assignees or others

The JoroGumo from my Myths and monsters series, done in an old science journal-type style. Archival quality, Giclee print on ultra premium matte photo paper. The quality of these prints is top-notch, and would look amazing on any wall! Designed and printed by me in my home studio, nothing is outsourced! Frames not included 3 sizes are available, 8x10", 11"x17" and 13"x19" Printed on premium matte photo paper, for amazing results. Printed with a small white border for easy framing, or pin them up as is! Shipping: All large size (11x17 and 13x19) prints will be shipped rolled and protected in a heavy-duty tube mailer. you are only charged shipping once, buy additional prints with no shipping fee!

«Девана – богиня охоты» Размер оригинала 480х650 мм. Девана в славянской мифологии богиня - покровительница зверей и охоты. Юная, прекрасная и бесстрашная богиня. Девана была весьма почитаемая народами, промышлявшими охотой и звероловством. Богине молились, испрашивая у неё удачи в охоте, а в благодарность подносили часть добычи. Символ Богини Деваны зовется «Звезда оберег». Это звезда с семью лучами, обращенная острым концом вверх. "Devana-the goddess of hunting" The size of the original is 480x650 mm. Devana in Slavic mythology is the patron goddess of animals and hunting. A young, beautiful and fearless goddess. Devana was very revered by the peoples who hunted and hunted. They prayed to the goddess, asking her for good luck in hunting, and in gratitude they offered a part of the prey. The symbol of the Goddess Devana is called "The Amulet Star". This is a star with seven rays, facing the sharp end upwards. About this artwork: Classification, Techniques & Styles Conté Colored drawing made with colored pencil, an instrument made of a small wooden stick used as a sheath for a colored mine of the same length. Figurative Figurative and colorful painting having taken the liberty of including all forms of art without border of cultural genre and geographic origin, without hierarchy of values between high and subculture. Technic Painting Painting is an art form of painting on a surface by aesthetically applying colored fluids. Painters represent a very personal expression on supports such as paper, rock, canvas, wood, bark, glass, concrete and many other substrates. Work of representation or invention, painting can be naturalistic and figurative, or abstract. It can have narrative, descriptive, symbolic, spiritual, or philosophical content. Related themes ДевушкаСлавянкаБогиняОхотницаЗвери View less

About The Artwork Joan the Wad, queen of the lucky Cornish piskeys, is also sometimes described as a will o the wisp. She is associated with fire and light, as Wad rhymes with mad and is a colloquial term for a torch or bundle of straw. A booklet from 1871 includes the poem Jack-the-lantern, Joan-the-wad, That tickled the maid and made her mad, Light me home, the weather's bad. Metal figurines of Joan are popular as lucky charms. My painting is based on a 1920s brass pipe tamper - fitting for her association with fire. As represented in the pipe tamper, Joan reminds me of Sheela Na Gig, with her big smile. Original Created:2021 Subjects:Classical mythology Materials:Canvas Styles:ExpressionismModernFigurativeFine ArtIllustration Mediums:AcrylicPaint Details & Dimensions Painting:Acrylic on Canvas Original:One-of-a-kind Artwork Size:11 W x 14 H x 0 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:United States. Have additional questions? Please visit our help section or contact us.

Known as the blind daughter in Finnish mythology, Loviatar is the goddess of death and disease. Born from the union of Tuoni, the god of death, and his underworld queen Tuonetar, Loviatar is discussed in numerous Finnish myths and texts as the worst of all their children—the vilest of all evils. The most reliable source remaining is that of the Kalevala, a nineteenth century text that is considered the national ep

– Artuš Scheiner

The Draug is a creature from Norwegian folklore, primarily in areas along the coast. He's definitely not