Good Hunting

This painting shows Artemis sitting upon a stag, indicating her connection to nature and the hunt, next to her brother Apollo, the God of the Sun. There is special emphasis in texture of the fur and antlers of the stag, the hair of the gods, and the foliage around them. The texture of the fir and antlers of the stag alone demonstrate the attention to detail given to the subject, to bring the illusion of real fur, stubble, and skin to the viewer.

This mosaic shows the Goddess of the Hunt Artemis with her favored hunting tool, the bow and arrow. The tiles are colored and arranged to give her clothes, hair, skin and weapon texture, to indicate the material of the clothing and bow and the feel of her hair, rather than a flat colored mosaic that outlines a character or subject.

Artemis, virgin Goddess of Chasity, sits with her nymphs and attendants in the discovery of another attendant's pregnancy. The contours of the fabric partly covering Artemis, and the flow of her hair and on her surrounding nymphs, give the perception of depth and feel to the painting. Texture is even given to the skin of the goddess and the nymphs, indicating the smoothness of their skin and the shape of their bodies.

This painting shows Artemis, called here by her Roman name Diana, being attended by her nymphs with a satyr trying to peer in on them. The attention to detail and texture here is helped by color and light perception; the viewer can make out the flow and strands of the nymph's hair, the fur of the satyr in the background, and even the individual fletching of the arrows hanging on the tree.

A mighty hunt was instigated when Artemis unleashed the Calydonian Boar among the mortals. The fur and facial features of the boar give perception of it's size and aggressiveness, and the texture on the horses not only give the sense of hair but also of their muscle and power. By using colors and light, even the smoothness and sweat of the hunter's skin give the impression of a great hunt.

Diana (Artemis) is show with her attendants, taking a bath in the river when the man Actaeon, a hunter, approached them. There is emphasis of texture surrounding Diana and at least three of her nymphs, given them structure and highlighting them within the painting. The others, including Actaeon are featureless. Emphases was also given to the water and foliage directly around Diana, shown in the trees above her and the waterfall behind her.

Diana (Artemis) Goddess of the Hunt sits with one of her hunting hounds and reclines. The artist gave special attention in the texture and colors of the hound to display its muscular body and give the impression of power. Diana's hair and skin are given texture to give the viewer a sense of her smooth flawless skin, the contours of her body, and the weave of her curly hair.

Diana (Artemis), her brother Apollo and several nymphs and creatures sit opposite of each other on a bank of clouds. The viewer is given the impression of clouds by how the color and paint texture are formed in soft billowing strokes - like clouds in the sky. The artist Tiepolo also gives emphasis of texture and color in the wings of the child nymphs, the material of the cloth draped over Diana and her nymphs, and even highlights the fur and body of the animals in the background.

A statue of Diana (Greek: Artemis) Goddess of the Hunt, Nature, and Chasity standing on a plinth holding up one of her arrows. The sculptor drew texture in the stone to shape Diana's clothes and hair to contrast with her skin. Any viewer can easily see and feel the detailed fletching of her arrows, the one in her hand and in the ones still in her quiver.

This decorated bowl shows Diana (Greek: Artemis) bathing amid features of nature and a small childlike nymph. The artist carved several different textures into the elements around Diana, including in the leaves, designs in the fabrics, and scales of the fish. The goddess and nymph are left with smooth textures and colors and detailed weaves of their hair.