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Pan poursuivant Syrinx - Pan pursuing Syrinx - Brueghel, Jan
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Pan poursuivant Syrinx - Pan pursuing Syrinx - Brueghel, Jan
FIA5394989 Pan poursuivant Syrinx - Pan pursuing Syrinx - Brueghel, Jan, the Elder (1568-1625) (Jan Brueghel Ancien, l Aine ou le Vieux, dit Brueghel de Velours) - after 1615 - Oil on canvas - National Gallery, London by Brueghel, Jan the Elder (1568-1625); National Gallery, London, UK; Photo eFine Art Images; Flemish, out of copyright
Media ID 22268070
© Fine Art Images / Bridgeman Images
Baroque Art Desire Escape Faun Monstrous Character Naked Woman Nymph Satyr Satyrs Sexuality Wonderful Character Fictional Character Flemish Art Mythological Figure Netherlands Holland Dutch Paganism
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EDITORS COMMENTS
This print captures the essence of Jan Brueghel's masterpiece, "Pan poursuivant Syrinx - Pan pursuing Syrinx". Painted in the early 17th century during the Baroque period, this oil on canvas artwork is housed in the prestigious National Gallery in London. The painting depicts a mythical scene from ancient Greek mythology, where Pan, a satyr and fictional character known for his wild nature, relentlessly pursues Syrinx. The composition showcases Brueghel's exceptional talent for capturing landscapes and nature with remarkable detail. In this particular moment frozen in time, we witness Pan chasing after Syrinx through a lush forest. The naked woman symbolizes desire and sexuality while attempting to escape from Pan's advances. Her fear is palpable as she runs amidst vibrant plants that seem to come alive around her. Brueghel masterfully combines elements of paganism and religion within this piece. The mythological figures of Pan and nymphs represent an ancient belief system intertwined with human experiences. As we admire this extraordinary work of art, it serves as a reminder of the power that paintings hold to evoke emotions and tell stories across centuries. It invites us to delve into our own interpretations of desire, fear, and the complexities of human nature depicted within its brushstrokes.
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