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Sempé Fi: Et in Arcadia I Go
Filed under: Sempé Fi Tagged: Arcadia, art, Baroque, Central Park, covers, Edward Sorel, mythology, nymph, Peter Paul Rubens, Pollux, Renaissance, satyr, Titian
Pollux writes:
Lust is in the air. The hooves of libidinous satyrs and the perfectly formed feet of nymphs pitter-patter across the lawns of Central Park.
In Edward Sorel’s “Spring Has Sprung,” which graces the cover of the April 12, 2010 issue of The New Yorker, Sorel transplants the Dionysian satyrs and nymphs of Greek myth to Central Park.
The scene is pastoral but not motionless. Sorel’s linework creates the illusion of rapid movement and change, symbolizing the coming of spring. “Spring Has Sprung,” evoking the High Renaissance work of Titian or the Baroque paintings of Peter Paul Rubens, is playful and spirited. It is modernized, but not obviously so. Only the baby carriage, lamp post, and skyscrapers in the background betray our modern era.
Sorel’s beardless satyrs cavort and play like they’ve done since time immemorial. The satyrs engage in passionate and amorous activities, sometimes taking the lead, sometimes not. In Greek myths, satyrs usually did all of the chasing, but Sorel’s nymphs are sexually confident, kissing their male companions with verve and initiative. Spring has truly sprung.
But it is not all lust. A nymph gazes into the eyes of a reclining satyr, who plays a pipe. Another couple gazes at a pond from a bridge, while another goes for a walk through the woods. A single satyr sits on a tree, serenading the carnal carousing with a tune from a double shepherd’s pipe.
Sorel’s update on Arcadia introduces a wistful note as well. An older satyr smiles knowingly at the revels while pushing the product of love or lust in a baby carriage. He’s bearded, balding on top, and bespectacled, but a satyr never forgets.
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Dashes, some say, “are particularly useful in a sentence that is long and complex.” Emdashes—like an em dash itself—provides a thoughtful pause amid the hubbub.
Emdashes, founded in 2004, is written and drawn by Emily Gordon, Martin Schneider, Pollux, Jonathan Taylor, and Benjamin Chambers, as well as occasional guest contributors. All posts before October 2008 are by Emily Gordon.
The site was designed by House of Pretty with illustrations by Jesse R. Ewing.
Additional drawings are by Carolita Johnson and Pollux (author of our web comic, "The Wavy Rule"). The Emdashes pencil logo is by Jennifer Hadley, based on a 1943 Dorothy Gray ad.
Other writing by Emily Gordon
- Writing on theater: reviews (for Time Out Chicago; imperfect but workable search results)
- Profile: Valerie Casey, Designers Accord founder, is spearheading the design of sustainability (for SXSW World)
- Feature: Rea Irvin: visionary art director, bon vivant, New Yorker founding father (for Print)
- Slide show: the Coney Island Mermaid Parade (for NYCgo.com)
- Feature: Muslim immigration iconography in the Netherlands, and an interview with Ayaan Hirsi Ali (for Print)
- Review: King's Gambit: A Son, a Father, and the World's Most Dangerous Game by Paul Hoffman (for Newsday)
- Homage: Celebrating lindy-hop legend Frankie Manning (for NYCgo.com)
- Inquiry: Does a New Republic redesign mean a change of tune? (for Print)
- Interview: James Surowiecki on what's next for the wisdom of crowds (for Assignment Zero)
- Interviews: four up-and-coming designers under 30 (for Print)
- Profile: novelist and dance critic Laura Jacobs (for Newsday)
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Comments
As a lifelong satyr devotee, I instantly fell in love with Sorel’s work with this piece. The write up here is equally brilliant in its analysis!
Thank you, Damon! I appreciate that. There should be more satyrs and satyrization in the world.