Ovid’s Metamorphoses: Art, Myth, and Transformation at the Rijksmuseum

Amsterdam – The Rijksmuseum’s new exhibition, “Metamorphoses,” isn’t simply a display of artistic skill; it’s a sprawling, centuries-spanning conversation with Ovid’s foundational poem, and a surprisingly timely exploration of transformation, desire, and the enduring power of myth. Opening this week and running through May 25th, the show brings together over 80 masterpieces, from canonical works by Caravaggio, Bernini, and Titian to contemporary pieces by artists like Juul Kraijer and Ulay.

The exhibition’s core strength lies in its ability to juxtapose the ancient and the modern, revealing how Ovid’s tales of gods, mortals, and their often-violent interactions continue to resonate with artists today. As Stephen Fry notes in the exhibition’s audio guide, the Metamorphoses is a poem fundamentally about change – a theme that feels particularly relevant in our current era of rapid societal shifts.

The sheer breadth of the collection is impressive. Sculptures stand alongside paintings, ceramics, and even video installations, demonstrating the diverse ways artists have interpreted Ovid’s stories. A standout piece is Bernini’s Sleeping Hermaphroditus, on loan from the Louvre. The sculpture, originally discovered in Rome in 1619, is presented on a dramatically draped mattress, emphasizing the fluidity of form and the blurring of boundaries between male and female.

But “Metamorphoses” doesn’t shy away from the darker aspects of Ovid’s work. Many of the myths center around themes of power, coercion, and sexual violence. The exhibition doesn’t offer easy answers or sanitized interpretations; instead, it presents these stories with a degree of unflinching honesty, prompting viewers to confront uncomfortable truths about the narratives that have shaped Western art and culture.

The exhibition’s curator, Frits Scholten, has assembled a collection that highlights the enduring appeal of Ovid’s characters and themes. Works like Dosso Dossi’s depiction of Apollo and Daphne, and Clemente Maioli’s tapestry of the same myth, demonstrate how artists have repeatedly returned to these stories, each time offering a new perspective.

Contemporary works, such as Juul Kraijer’s video installation inspired by Medusa, offer a particularly compelling counterpoint to the classical pieces. Kraijer’s work features the artist herself, her face obscured by writhing snakes, a powerful and unsettling reimagining of the myth. The inclusion of Ulay’s work further expands the conversation, bringing a contemporary lens to the themes of identity and transformation.

The exhibition also acknowledges the historical context of these interpretations. Karel van Mander, a 17th-century Dutch painter and writer, famously called the Metamorphoses a “Bible for artists,” and the show demonstrates just how deeply Ovid’s work has influenced artistic creation for centuries. The catalog notes that after the Bible, Ovid’s work may be the most consulted source for artists throughout history.

However, the exhibition doesn’t ignore the problematic aspects of these myths. A significant number of the stories within the Metamorphoses involve acts of sexual violence, a fact that raises difficult questions about the relationship between art, beauty, and power. The exhibition doesn’t shy away from these questions, but it doesn’t offer easy answers either.

Taco Dibbits, the Rijksmuseum’s general director, believes the stories still speak to a modern generation, even if we no longer believe in the Roman gods who populate them. “When people are touched by this enormous, godly power, a metamorphosis, a total transformation takes place,” he said at a press viewing.

“Metamorphoses” is a complex and thought-provoking exhibition that challenges viewers to reconsider their understanding of these ancient myths. It’s a testament to the enduring power of Ovid’s poetry and the ability of art to illuminate the human condition, in all its beauty and brutality. The exhibition is a fitting culmination of Scholten’s work as curator of sculpture, and a reminder of the ongoing dialogue between the past and the present.