Diana in Art: Goddess of the Hunt

The goddess Diana is a symbol of feminine power and independence throughout art history. While known by the Romans as Diana, she is also identified in Greek mythology as Artemis. Diana is pictured as calm and graceful in Roman art, but in Greek depictions, Artemis is shown as more powerful and dynamic. However, regardless of the art period, she is is always depicted as a youthful athletic woman dressed in clothes suitable for hunting. This makes sense given her title as the goddess of the hunt. Diana was also known as a goddess of the moon and nature, as well as protector of childbirth, despite her vow of chastity.

Here are 5 works of art that best depict Diana throughout time.

1. Diana of Versailles

One of the best examples of Diana depicted in ancient art is this Roman marble statue at the Louvre in Paris. It is a partially restored Roman copy of a lost Greek bronze that was originally made in 325 BCE, attributed to Leochares. Diana is depicted in a hunting stance, drawing an arrow from her back, immediately enthralling the viewers. Her other hand is holding what is most likely the remnants of a bow. She is shown wearing a typical Greek style of clothing, such as a chiton (draped linen) and himation (the wrap around her waist). The Greek goddess is depicted as an idealized female form.

The modern history of Diana of Versailles is quite complicated; it begins in the 16th century when it was discovered in a temple in Italy. In 1556, it became a symbol of royal power when Pope Paul IV gifted the found sculpture to King Henry II of France. It was displayed in a royal garden and became one of the first Roman sculptures to be seen in France. Eventually, the sculpture was given to the Louvre in 1602, where it was installed in a gallery designed specifically for it.

2. Diana and Actaeon

During the Renaissance, Titian created multiple works for King Philip II of Spain. This painting, Diana and Actaeon, is part of a mythological series inspired by Ovid’s Metamorphoses, made for the King during the height of his reign in Spain. In this piece, we see a dramatic encounter between Diana and Actaeon. Titian captured Actaeon (a famous Theban hero) stumbling upon Diana bathing and naked. Since he has violated her privacy, unfortunately, his fate is to be transformed into a stag and killed. Titian’s use of color, light, and composition creates an emotional intensity, emphasizing the contrast between humans and the divine gods.

A companion piece to the painting, which further emphasizes its message, is Diana and Callisto. It shows another myth of Diana’s judgment. When viewed together, the two works reveal Titian’s powerful narrative cycle.

3. Diana and Her Companions

As one of Vermeer’s earliest works, Diana and Her Companions, also known as Diana and Her Nymphs, is a true masterpiece. It was painted before Vermeer turned to his more famous domestic interior scenes. What makes this painting even more unique is that this is Vermeer’s only known painting with a mythological theme.

It depicts Diana resting with her companions in a leisurely and scenic setting. This contrasts with other depictions of the goddess, where she is portrayed as harsher and more dramatic. Here, Diana is shown fully clothed, calm, and dignified—elements absent from many earlier depictions. Finally, this 17th-century painting of Diana shifts from the earlier ones due to the artist’s influence from Caravaggio. For example, Vermeer implemented subtle chiaroscuro elements (light and dark contrasts) in the painting to reflect his knowledge of Caravaggio’s style.

4. Diana Bathing

François Boucher’s depiction of Diana, in this masterpiece, is a classic example of 18th-century French Rococo art. During the period, paintings were whimsical and often featured subjects of love and nature. Therefore, Diana—the goddess of the hunt—was the perfect subject for Boucher to use in this playful painting. Diana, identified by her crown of pearls, is surrounded by iconographic symbols such as hunting dogs, arrows, and a nymph kneeling at her feet. The purpose of the painting was for Boucher to showcase his talent at the Paris Salon (a prestigious art show) in 1742. This depiction of Diana is different than the previous ones mentioned since the artist has used soft pastels to create a dreamlike atmosphere.

5. Diana Surprised

In this final example, from the 19th century, Diana is again portrayed as nude, spotted while bathing. This is the same myth that Titian depicted in his Diana and Actaeon. However, this masterpiece exemplifies the French academic style, emphasizing female beauty with smooth classical brushwork. What is noticeable is the missing Actaeon, who is only presumed to witness the bathing.

Lefebvre was known for his skill in painting the female form, and combined Diana’s graceful mythological reputation with erotic undertones from Rococo paintings. Diana Surprised was exhibited at the Paris Salon in 1879 at the Louvre in Paris and received much praise for its excellence.