Who painted Venus and Adonis Hunting?

Venus and Adonis Hunting was painted by Herman van Swanevelt in 1628.

Where can I see Venus and Adonis Hunting?

Venus and Adonis Hunting is held by National Gallery of Art.

What movement is Venus and Adonis Hunting?

Venus and Adonis Hunting is associated with Baroque.

Can I buy a print of Venus and Adonis Hunting?

Museum-quality prints of Venus and Adonis Hunting are available made-to-order from Artifact World Gallery.

Artwork

Venus and Adonis Hunting

Herman van Swanevelt , 1628

Venus and Adonis Hunting is an ink print by the Baroque artist Herman van Swanevelt. It dates from 1628 and is held in the collection of the National Gallery of Art.

About this work

Overview

Herman van Swanevelt’s 1628 etching titled Venus and Adonis Hunting presents a mythological tableau rendered in bold, dark lines. The composition places two figures in a forest clearing, with a river and distant mountains framing the scene. Swirling clouds dominate the sky, while the surrounding trees are delineated with fine, precise strokes that convey depth and movement.

Subject & Meaning

The work references the classical story of Venus and Adonis, suggesting a moment of preparation for the hunt. One figure appears to be adjusting footwear, while the other holds a spear or staff, implying readiness for the chase. The inclusion of French and Latin inscriptions at the bottom reinforces the narrative connection to the myth.

Technique & Style

Executed as an etching, the image relies on delicate line work to model foliage, clouds, and the figures’ anatomy. Swanevelt’s handling of line creates a sense of atmospheric perspective, with the forest receding into the background and the river cutting through the landscape. The contrast between bold outlines and finer details typifies his approach to printmaking.

History & Provenance

Created in 1628, the print reflects the Dutch Golden Age’s fascination with classical themes and the technical possibilities of etching. While specific ownership records are not provided, the piece exemplifies Swanevelt’s output during a period when mythological subjects were popular among collectors of prints.