A Chronology of The Three Graces

 The three graces in Greek mythology offer a take on the essence of beauty, mirth, and elegance. The three

goddesses are daughters of Zeus and are often connected with Aphrodite in myths, appearing at banquets,

festivals, and weddings to celebrate life and offer their unique gifts. For centuries, artists have been

depicting the three graces in various ways to pay homage to the wonderful goddesses and what they

represent. Artists have accepted the deities, challenged them, and altered their depictions and meanings

over time in various ways. There are many similarities and differences throughout the history of the three

graces and each offer insight to the culture and historical climate at the time. Although the subject is the

same– three beautiful, angelic-like goddesses, the way that artists change their physical appearance

throughout time is informative of society’s visual framework.

Unknown, Marble Statue Group of the Three Graces, Second Century A.D. Marble, 48 7/16 x 39 3/8in. (123 x 100cm), Metropolitan Museum of Art, accession number: 2010.260

In this depiction of The Three Graces, the goddesses are shown in dynamic contrapposto and swaying in a dance-like state. They are nude and are most likely shown as if they were at a festival, spreading their beauty, mirth, and elegance. Their garments are stripped and thrown across two vases. This statue was most likely shown in a bathhouse in the 2nd century A.D. Line and balance are important elements displayed in this sculpture that is prominent in developing unity in the artwork, which also symbolizes the unity of the trio.

Sandro Botticelli, La Primavera (Spring), 1477

                                         Tempera grassa on wood, 207 x 319 cm, Uffizi Gallery

Botticelli offers a depiction of the three graces in the Italian Renaissance in the 1400s. The Renaissance period produced “high art”, which accentuates aesthetic value and has a reputation for being very beautiful and aesthetically pleasing art. Most people who are not familiar with art or art history can still recognize art in the Renaissance as the crema de la crème. In Botticelli’s piece, the three graces are pictured in the left corner as a trio whimsically dancing, hands intertwined. In this depiction, the goddesses are clothed in dainty dresses along with some jewelry. Art historians say that the meaning of this painting offers certain complexities, but it is generally accepted that this painting is a celebration of life, love, and prosperity. They contain a life-like value when contrasted with Marble Statue Group of the Three Graces, accentuated by the fantastical setting of the painting.

Lucas Cranach the Elder, Les Trois Grâces (The Three Graces), 1531

Oil on panel, 36 x 24 cm, Musée du Louvre

About 50 years after Botticelli’s La Primavera, Cranach provides the world with his take on the three

graces in another oil painting. This particular trio is half nude, with only head decor and necklaces worn

by the deities. Cranach was a German Renaissance painter who loved bold colors and composition. This

representation offers a modern twist on such an ancient idea with the incorporation of the hat and

necklaces, and these little details only seem to accentuate their nudity. The goddesses also differ from

previous depictions because they are less in a dance-like state. They are presented in contrapposto, and

seem to be standing with purpose, exuding more elegance than mirth.

Antonio Canova, The Three Graces, 1814-17

Marble, 173 x 97.2cm, Victoria and Albert Museum, Room 22, The Dorothy and Michael Hintze Galleries

Another sculpture that represents the three graces is Canova’s masterpiece, The Three Graces. In Canova’s version of the graces, they are more clothed than Marble Statue Group of the Three Graces and are even more intertwined physically. From the front view, the leftmost and center graces are embraced tightly, with their faces touching one another. There is also a bit more detail than the first sculpture mentioned, primarily because all of Canova’s sculpture has been preserved. Canova also shows the viewer his incredible skill in creating marble that looks “morbidezza”, or soft. The surface of the marble appears soft, although the viewer knows cognitively that marble is a hard substance. There also seems to be a more intimate relationship between the three graces in this sculpture than we have seen before in other depictions.

Pablo Picasso, Three Graces, 1923

Oil and charcoal on canvas, 200 x 150 cm, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid. On temporary loan to the Museo Picasso Málaga

Jumping forward about one hundred years, Picasso adds a wonderful contribution to the progression

of the three graces as an art subject. He depicts the three goddesses in a sketch-like form, using charcoal

and oil paint. The goddesses are clothed with open drapes, and are intertwined, but not as intimately as

Canova’s depiction. Picasso also adds a modern twist by incorporating charcoal into his representation.

The graces look more pensive here, perhaps tapping in more towards their elegance rather than beauty or

joy.

William Samuel Schwartz, Three Graces (Lithograph #20), 1928

Lithograph,  20 3/8 × 12 1/2 in., Metropolitan Museum of Art, accession number: 2016.761.14

Another representation of the three graces is Schwartz’s lithograph of the goddesses. Similar to Picasso,

 this adds modernity, partly due to the medium, but also in the subject matter. These goddesses physically

 take up more space with their curvy bodies than we have seen in the past. There is a shy seductiveness to

 these goddesses that is very similar to how Aphrodite is often portrayed. They are also nude and more

 stylized than graces in the past. Similarly to Cranach’s painting, these goddesses seem to have purpose

 and boldness; where Picasso and Cranach’s pieces exude elegance, this depiction seems to emphasize

 beauty.

Mickalene Thomas, Three Graces: Les Trois Femmes Noires, 2011

Rhinestone and acrylic paint and oil enamel on wood panel, 108 x 144 in., North Carolina Museum of Art

A final depiction of the three graces is this 2011, postmodern representation. This collage of abstract and

 stylized art is different from other depictions, primarily due to the differences in race. Most three graces

 have been portrayed as white goddesses, however, Thomas makes a decision to portray these goddesses–

 exuding beauty, mirth, and elegance– as African-American goddesses. The art itself is a continuation in

 modernity with the abstract broken mirror effect surrounding the subjects. The goddesses are clothed in

 fashionable, modern garb that is very indicative of the early 2000s. Although the three graces originated

 from Ancient Greece, they are still making an impact today as artists challenge the trope and develop it

 throughout time.