Should Titian’s painting of Jupiter abducting Europa be called ‘The Rape of Europa’?
Titian’s artistic works have always been considered controversial, whether in today’s age or in his time, because of the nudity, religion, as well as the violence he shamelessly depicts. ‘The Rape of Europa’, then, is no exception to that. The painting, though was supposed to offer a leisurely private accessibility to King Philip II, is now one of Titian’s most renowned achievements. As Greek and Roman mythology were occupying the lifestyles of the Renaissance days, Titian’s ‘The Rape of Europa’ depicts the fleeing of Jupiter as he took advantage of Europa whilst disguised as a bull due to his enchantment by her. The story ends with Jupiter forcing himself on her and later on, the continent Europe attained its name from Princess Europa. In this article, I will argue that the naming of the painting is intentionally inaccurate and purposely objectifying as it eroticizes rape and the victim, turns a blind eye on the predator, and serves as a deliberate attention grabber for a certain fetishizing audience and gaze.
To begin with, as I believe the intention of the painting was to eroticize rape, then I shalt start with an analysis of why the painting’s lack of innocence goes hand in hand with why the name is misogynistically inaccurate and therefore controversial. The Rape of Europa, from a far distance, calls for the eye to think of Europa as a victim afraid of drowning so she holds on to the bull as he flees with her away. However, as we attend closely, the intentions of Titian become clearer. Europa is semi-nude, with her breast out and her crotch positioned directly in front of the viewer. This, of course, could be argued against by the acknowledgment that Renaissance paintings often depict both men and women in such nude light. However, given that is still mostly the women that are under such portrayal, and considering the fact that rape occurs in the later stage of the story and the priority of the painting’s name is ‘rape’ rather than ‘abduction’, shows us that Titian is sexualizing the woman both as a service for the context of the story and for the viewer’s pleasure, too.
Moreover, the expressions, the atmosphere all play an important role, even the motion of the water. Europa’s expression is depicted rather ecstatic, like of someone consumed by lustful thoughts. As we stare at the color of the shawl she is displaying in front of everyone, it is obvious red, and as paintings have intentions, so does color. Red in art is often the color of passion and excitement, and Titian displaying Europa displaying this shawl is supposed to place us, like the almost unnoticeable people that watch her get abducted in the painting, in a position where we think she is declaring some sort of sexual gratification she is yet to achieve by the abduction of this bull. Considering the bull is merely in facial action, the red in his eyes connects with her shawl, as if it is somewhat of a consensual ‘non-consensual’ act. With the sea depicting both speed and arguably sexual fluids, the intent goes clear: the eroticism of the raped woman is supposed to appeal to a certain audience, which makes the naming on top of it all too horrible. By eroticizing rape, the painting serves as the ultimate male rape fantasy: the woman is asking for it, but he is also forcing himself on her. Europa is depicted to be enjoying it, but the naming of the painting also recognizes that it is rape, which juxtaposes them both as evidence that the naming of the painting and, well, the painting itself, are embedded in objectification.
Furthermore, the naming of the painting puts one person at the front and shuns the other. Here, in The Rape of Europa, Europa’s rape is declared even in the simplest ways, like in the title. There are two dilemmas here: The first being that Europa is openly declared to have been raped, and this has implications of victim blaming. Europa’s rape is put at the front, even before her name. Interestingly enough, if the word ‘rape’ had to be put here, then why not name it ‘Europa’s Rape’, for example? It is even easier to say and lighter on the tongue, too. However, the prioritization of the word ‘rape’ here puts the act that is done to Europa as even more valuable and significant than Europa herself. Though the act is horrendous, this prioritization puts no value over the horridness of rape, but rather is supposed to serve as a now fixed identity that not only comes with Europa when mentioned, but also comes before her, as if that is the one thing she can now be associated with. This is a mirror of reality when women get exposed to sexual assault; they are now, by the eyes of society, an extension of what has happened to them to the point where the forced act is on the tip of society’s tongue when the woman is mentioned in complete randomness.
And examining the bull in position of Europa makes the painting’s center of attention clear, like it had been planned all along. Europa is the heart of the painting, and she is sexualized to the point where even her position on the bull could be interpreted as riding, which makes her a joining party of this sexual act. Looking back at Jupiter, it is note-worthy to say that his calmness is eerie yet deliberate. It is almost as if Titian is begging the viewer to not involve Jupiter as a bull. Had he wanted Jupiter in the picture, he would have portrayed him in a more action-worthy light. The stoic motion of Jupiter in contrast of Europa’s handful gestures suggests that she is in control, and pushes him and any sort of blame aside. Of course, the control here means that she is a consenting party that is also willing to engage in sexual acts, and not that she is the dominant party. Just like ‘Danaë and the Shower of Gold’ by Titian, both paintings depict ‘sexy’ and lustful women on the verge of a great violation. Likewise, both the paintings’ titles involve the naming of the violated women, but never the violating men, for even Danaë was scandalized, whilst Jupiter’s identity kept being hidden under the disguise of the shower of gold. This slight, perhaps faint detail puts Europa under criticism and also dehumanization, like the violated women in the world, whereas Jupiter, like the violating men, is not even put in the picture to be held accountable.
Secondly, the name including rape is not only a declaration, but also a celebration. The anonymity of who the rapist is in contrast to the full identification of who the victim is also a mirror of continuous real-life occurrences. When Europa is declared to have been raped, that is all it takes for one to rethink her of different light- she is now not Europa, but rather Raped Europa. The anonymity of Jupiter being the rapist is exactly and totally synonymous with the experiences of raped women. Somehow, they are not raped, for women are attention seekers that ask for it, but simultaneously, raped women are raped, impure, and they will be treated like they should be ashamed of themselves according to that fact. With Europa being in a sexualized and sexual mode in the painting, then it is safe to say that she is treated as both the ‘victim non-victim’, an accomplice to the sexual act she declares was forced upon her. Therefore, considering the painting does the mythological story no justice when it comes to the true victimization of Europa, and combining this fact with the naming puts us under the impression that the deliberate sexualization of Europa’s rape, as well as the declaration of her rape story is meant to be celebrated, for a part of eroticism is celebration of sexual gratification. This invites the viewer to overlook her autonomy and subjectivity as her ‘sexy’ pose and body are put on display, of which makes the objectification, in an extreme form, an act of rape in itself.
Moreover, the word ‘rape’ could easily be substituted by ‘abduction’ because the painting in its bare form does not showcase rape, but rather the moments leading up to it. The question remains: Why rape? The answer is pretty simple: Had the painting been called ‘The Abduction of Europa’, then it would have not gotten the attention it initially did get. Although one could argue that words like ‘rape’ should not be thrown around here and there, especially with the weight and triggers sexual assault has, but my issue with the word ‘rape’ being used here is different. As much as it is true that rape is sensitive and one should be more considerate when the topic is presented, it is also true that art on itself is unlimited and free. However, the dilemma starts rising when one puts two and two together to formulate a certain intent. In the example of ‘The Rape of Europa’, considering that it was painted for King Philip II for his own amusement and as a private collection where he displays it amongst his guests, then it is not just a painting, but also a supposed pleasure for the sight of men. As the private art became public, so did the audience. Consequently and especially that Titian did not name the painting himself or when he was alive, I propose that the word ‘rape’ was used to further advantage the profits and the amusement. Besides, the fact that rape in itself was not explicitly portrayed means that the name is supposed to make the viewer search for the rape and even fantasize about it if not transparent enough for them. The issue stems in the fact that not only is the word ‘rape’ exciting to the audiences, but that the name is made to cater to this type of audience. What we witness here, then, is a mix of an inaccurate and rather fetishizing name that is known to capture the eyes, and well, other parts, of viewers that are interested and pleased to view rape. The awareness here is deadly and rather brazen.
Ultimately, art on its own can be said to be free of ethical dilemmas for art is supposed to depict so much, and so little. What counts, however, is the obvious and subtle attempts that artists entrench in their work. Hence, artists often are a representation of a common ideology of their era, and that is why Titian’s ‘Rape of Europa’ is not a guiltless work of art that could be overlooked, whether it being the painting and the brush, or the naming and its motives.
