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| Roman Empire in North Africa Head 1st century AD marble British Museum |
"Marble head from the statue of a young woman wearing a garland of ivy leaves. The woman may be Ariadne, the wife of the wine-god Dionysos, or a Maenad, a female worshipper of Dionysos."
– curator's notes form the British Museum
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| Roman Empire in Italy Panel with Bacchus and Ariadne 1st century AD fresco Getty Museum, Los Angeles |
"Nude but for the drapery swirling around them, Bacchus and his consort Ariadne walk with arms entwined against a plain white background, as if floating. Ariadne lifts a ceremonial drinking horn called a rhyton, while Bacchus carries a kantharos (wine cup). . . . The fresco was produced by stretching bundled reeds between the laths that supported the wall, a technique known as opus craticium. A mortar of lime and sand (arriccio) was then applied, followed by a finer layer of ground marble (intonaco). The painted decoration was applied while the intonaco was still wet, bonding with it as they dried. Impressions from the reeds are visible on the back of the fresco, and near Bacchus' left shoulder are fingernail impressions where the painter supported his hand as he worked. Numerous details, such as the wreaths worn by the gods, were applied in paint after the fresco had dried."
– curator's notes form the Getty Museum
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| Sèvres Manufactory Vase with Bacchus and Ariadne 19th century porcelain Wadsworth Atheneum, Hartford, Connecticut |
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| Sèvres Manufactory Vase with Bacchus and Ariadne (detail) 19th century porcelain Wadsworth Atheneum, Hartford, Connecticut |
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| Hellenistic culture on the Turkish coast Couple 200-100 BC marble British Museum |
"Fragment of marble group showing a male and female couple standing side-by-side. He stands on the left, her left arm on his right shoulder. She wears a long chiton girt under the breasts and a mantle. Both heads lost. The lower part of the male figure is missing. Perhaps Dionysos and Ariadne, or Ares and Aphrodite."
– curator's notes form the British Museum
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| Laurent Delvaux Ariadne ca. 1723 marble statuette Yale Center for British Art |
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| Giovanni Antonio Pellegrini Ariadne in clouds ca. 1718-19 oil on canvas Royal Collection, Great Britain |
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| Martin Archer Shee Ariadne deserted by Theseus 1834 oil on canvas Glasgow Museums |
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| Angelica Kauffmann Bacchus and Ariadne 1794 oil on canvas Attingham Park, Shropshire |
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| Asher Brown Durand after John Vanderlyn Ariadne ca. 1831-34 oil on canvas Metropolitan Museum of Art, New York |
"Before he became a painter, Durand was considered the foremost engraver in the United States. His usual procedure was to start by making a copy in oils of the work to be engraved that was equal in size to the intended print. Ariadne is one such copy, made after a large history painting by John Vanderlyn. Ariadne was a Cretan princess briefly loved by Theseus. He abandoned her, however, on the island of Naxos, and she is shown here in her desolation. Durand's copy modified Vanderlyn's crisp Neoclassicism, infusing it with a romantic softness, and compensating for prudish American tastes by rendering the drapery opaque."
– curator's notes form the Metropolitan Museum
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| Anonymous artist Ariadne ca. 1780-1800 drawing Museum of Fine Arts, Boston |
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| Stefano Mulinari after Giovan Luigi Valesio Bacchus and Ariadne ca. 1774 etching Philadelphia Museum of Art |
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| Michiel Mozyn after Jacob de Backer The forsaken Ariadne comforted by Bacchus ca. 1680 engraving Philadelphia Museum of Art |
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| Eduard Strohling Bacchus and Ariadne before 1826 lithograph Yale Center for British Art |
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| Giuseppe Bernardino Bison Bacchus and Ariadne attended by Nymphs playing musical instruments (design for lunette) ca. 1790-1810 drawing Museum of Fine Arts, Boston |