Both paintings describe the story happening in a cave at Ogygia, where Calypso – a beautiful goddess – spends seven years tirelessly yet unsuccessfully convincing Odysseus to stay on her home-island. Although making artworks on the same plot, Arnold Böcklin (left) and Jan Brueghel the Elder (right) choose two totally different scenes and approaches to interpret.
On the left side was when Odysseus and Calypso sort of cuddling and enjoying each other’s companionship with several servants at the background. Arnold Böcklin, by using bright colors and small details such as fruitful plants or animals harmonically joining goddess and mortals, also gives the painting a sense of liveliness and beautifully portray the type of sincere hospitality that is commonly seen in the Odyssey. The painting, which displays the vivid atmosphere in Calypso’s cave, surely reflects Calypso’s committed intention to serve and entertain Odysseus, hoping to keep him around and make the godlike hero her husband.
In contrast on the right side, the Jan Brueghel the Elder chooses to portray the final scene of the story when Calypso saying goodbye and sending Odysseus back to Ithaca. Calypso is the main character in this painting. The painter purposely places Odysseus at far left and in full black, which helps shifting entire attention to Calypso who, through facial expression, seems to be enduring her grief and disappointment of letting Odysseus go. Unlike vividness and joyfulness appearing on Arnold Böcklin’s painting, Jan Brueghel the Elder instead chooses dark-shaded colors to give the overall painting a sense of sorrow and soulful heaviness.
One interesting similarity between the two artworks is Calypso both appear in nude. It is not uncommon for female figures, in The Odyssey specifically and Greek myths generally, to abuse their beauty and distinctive traits in order to cause trouble or attract man: Trojan War is fought over Helen; Circe attracts and poisons a whole crew using her beauty; or Calypso, in this case, tries to hold onto Odysseus. I think both painters want to emphasize the importance of female body as a resource of troubles as well as reasons for all Greek stories to happen.
You chose some really interesting pieces to analyze, especially since they come from different points in the epic but focus on the same romance. I agree that the Böcklin painting is far more colorful. I believe he did this to invoke wistful romance. He purposefully kept his color palate in the pastels and even illuminated Odysseus and Calypso, as if to imply their romance was in the light or somehow blessed. I also think you brought up and interesting point about the animals and general flora. This could underscore that their relationship is blossoming or alive because they attract life. Although the couple is certainly the focal point, they are not nearly as imposing at their surroundings. This could even be some of the artists opinion or way of showing us how hard it would have been to leave Calypso and her paradise.
Jan Brueghel the Elder’s painting focuses on the last moments of their relationship, and I agree that Calypso’s emotions about Odysseus’ departure are meant to be the main action in the piece. However, I think we need to look more closely at the setting as well. It is in stark contrast to the beauty of the first painting. There is no life around them, only rocks. And the palate is bleak, using mostly dark colors. Finally, not only is Odysseus painted in dark shades, he is also facing away from Calypso looking out to what lies beyond her island. She is surrounded by black as well, what is presumably a cave in the background. Though it is part of the setting it also communicates her depression over his departure, almost as though her aura has gone dark.
Your selection of paintings is excellent. The painting to the left, as you said, shows a future that is possible, whereas the painting to the right is reality, which is dark and gloomy, and Calypso is dressed in white, symbolizing escape, or freedom from Odysseus’s journey home, which is dark and full of terror.
I think you are on to something with the female body symbolism. The importance, and maybe power of females, is often depicted through their bodies and a focus point.
The contrast between these two photos are huge and are an excellent choice on your part. I don’t have to go into detail about the differences since you did that yourself. What sticks out to me the most is the color in these two paintings which you bring up. It makes the left painting look heavenly while it makes the right painting look a grim reality. Overall a great example of contrast and how interpretations of a text by artists can give new life to a text.
The painting towards the right was painted with so much feeling and emotion, Calypso looks so hardhearted that Odysseus is not near her. She hurts because of his pain. She does not want to see him suffer but she loves him so much. She is willing to sacrifice her heart to end his suffering. The painting towards the left shows togetherness and they look into each other physically. They have sexual chemistry and attraction but that is all there is no love. Its is lustful and will end rapidly.
Hi Duc,
You do a great job here of analyzing the differences between the paintings in terms of their relationship to the narrative–the Böcklin’s lush detail and the Breughel’s stark colors do indeed not only portray the relationship differently, but call our attention to different *aspects* of the relationship. (I think the Breughel may depict a moment before Hermes’ visit–the dark figure of Odysseus is mourning, not preparing to sail). Well-done.
-Prof Kolb