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Manship achieves a witty interpretation of the classical myth of Europa, abducted by Zeus who transformed himself into a bull to carry her across the sea.

The rhythmic composition sets horizontal against vertical and speed versus stillness, as the bull's horns, tail and legs oppose Europa's upright stance.

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Paul Manship energized the static, idealized forms of Greek and Roman antiquity with the controlled power and rhythms of the Machine Age. During Manship's studies at the American Academy in Rome, his intimate contact with Classical art profoundly affected his development, resulting in works such as this witty interpretation of the myth of Europa. Taking the form of a bull, the Greek god Zeus abducted the Asian maiden Europa and carried her over the sea, represented by the dolphins, to the island of Crete. The continent that was to be her new home was named for her forever after.

Never has there been a more poised victim than Manship's Europa, who appears utterly unperturbed by her abduction. She sits rigidly and cross-legged on the bull, riding backwards as she listens to the whispers of Eros. The rhythmic composition sets horizontal against vertical and speed versus stillness, with the bull's horns, tail, and legs opposing the force of Europa's upright posture. Manship was particularly interested in the surfaces of his sculptures: here, he rubbed the work to give it an antique finish. The agate base is an integral part of the composition. Its grain repeats the stylized treatment of Europa's hair and also creates the impression that the dolphins are swimming on water. Manship completed numerous public commissions, including the fire-carrying Prometheus in New York City's Rockefeller Center.

Pray tell my loving father that Europa has left her native land, seated upon a bull, my ravisher, my sailor, and, as I think, my bed-fellow.
-Nonnus, from Dionysiaca, 5th century

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Paul Manship

The Flight of Europa, 1925

gilt bronze on agate base

H: 25 in. D: 8 ¼ in.

Gift of Lucy M. Taggart in memory of her brother Thomas Taggart

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Paul Manship was born in Minnesota and began studying art at St. Paul School of Art.  At nineteen he moved to Philadelphia to continue his studies at the Pennsylvania Academy of the Fine Arts.  Manship then went to New York where he enrolled at the Art Students League and later served as an assistant to the sculptor of Western themes Solon Borglum from whom he gained knowledge of animal anatomy.  Manship won the coveted Prix de Rome and a fellowship to study for three years at the American Academy of Rome.  While there he developed an interest in classical and archaic Greek art.  Upon returning to America these combined influences resulted in a style that attracted both modernists and conservatives in its simplification of line and detail making Manship a successful sculptor.  While working in Paris he created a number of sculptures which embodied a stylized form that was uniquely his own.  During his career, Manship produced over 700 works.

Manship adapted sources from Antique art for his witty interpretation of the classical myth of Europa.  Taking the form of a bull, the God Zeus abducted Europa and carried her on the back of dolphins to the Island of Crete, where Minos is subsequently born to them.  The muscular bull derives from ancient Minoan forms, while the maiden’s stylized hair and posture were inspired by Archaic Greek models.  Never has there been a more poised victim than Manship’s Europa, riding backwards as she listens to Eros’s whisper.  The forms are smooth and simplified, and the rhythmic composition sets horizontal against vertical and speed versus stillness, as the bull’s horns, tail and legs contrast with Europa’s upright pose.

Reference

Susan Rathner.  Archaism, Modernism, and the Art of Paul Manship, Austin: University of Texas Press, 1993. ISBN-13: 978-0292760356