The Minneapolis Institute of Arts
Object in Focus Theseus Slaying the Centaur Bianor

The ancient Greeks placed a high value on human abilities and accomplishments. Physical strength, intelligence, and courage were attributes of their mythological heroes, such as Theseus, who is portrayed in this bronze sculpture.

The French artist who made this 19th-century sculpture combined enthusiasm for ancient Greek art with an interest in new artistic trends. Satisfying his own curiosity and exercising great skill, he created this powerful sculpture.

Antoine-Louis Barye
French, 1795-1875
Theseus Slaying the Centaur Bianor, modeled c. 1850 (cast c. 1891)
Minneapolis Institute of Arts
Gift of the heirs of Louis W. Hill: Mr. Louis W. Hill, Jr., Mr. Jerome Hill, Mr. Cortland Hill, and Mrs. Maude Schroll

A Mythical Hero
Greek Mythology Inspires European Art
Animal Enthusiast

A Collection of Mythology: Use the Art Collector feature of ArtsConnectEd to see artworks based on Greek mythology. Reorganize this collection into different categories, such as heroes and gods; love, war, and adventure; or paintings and sculptures. Or, find and read the stories the artworks are based on. Click here to access the collection. Click here to learn more about Art Collector.  

Mapping It Out: Take a geographic look at Theseus Slaying the Centaur Bianor. Begin by finding a map that shows Greece, where myths such as the story of Theseus were told. A new interest in ancient Greece took hold in Europe after the discovery of the ruined cities of Herculaneum and Pompeii in Italy. See if you can find those ancient cities on a map. The French artist Antoine-Louis Barye lived and worked in Paris. Now his Theseus Slaying the Centaur Bianor is in Minneapolis. On a map of Minneapolis, locate the Minneapolis Institute of Arts. Use a museum map to find Barye’s sculpture in the museum!  

Stories from Around the World: Use the MIA’s online resource World Myths and Legends in Art to learn about the mythologies, stories, and legends of cultures around the world.  

Illustrating a Myth: Read a story from Greek mythology and create a drawing or sculpture to illustrate it. Who are the story's main characters? Are they heroes, gods, or mortals? What values or traits do they have? Imagine how these characters would look. What events happen in the story? What is the moment of highest drama? Select a scene for your illustration.  

September 2009

This etching shows Theseus performing his first heroic task, which was to remove his father’s weapons from under a large rock.
Il Grechetto (Giovanni Benedetto Castiglione), Theseus Finding His Father's Weapons, 1648, etching, Minneapolis Institute of Arts, gift of funds from the Print and Drawing Council in Memory of Kemper E. Kirkpatrick.

This etching shows Theseus performing his first heroic task, which was to remove his father’s weapons from under a large rock.
Il Grechetto (Giovanni Benedetto Castiglione), Theseus Finding His Father's Weapons, 1648, etching, Minneapolis Institute of Arts, gift of funds from the Print and Drawing Council in Memory of Kemper E. Kirkpatrick

Another famous Greek hero, Hercules, battles the fire-breathing monster Cacus.
Master of Year 1515, Hercules and Cacus, c. 1515-20, drypoint-manner engraving, Minneapolis Institute of Arts, bequest of Herschel V. Jones

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A Mythical Hero

Theseus was the son of Aegeus (EE-GEE-us), the king of Athens, and Aethra, daughter of the king of Troezen. At age sixteen, Theseus left his mother’s home and set out for Athens, to see his father. This was the beginning of a series of adventures that continued throughout his life.

Theseus’ battle with the centaur Bianor is portrayed in this sculpture by the French artist Antoine-Louis Barye (AN-twon LOO-ee bar-EE). The battle came about because of Theseus’ great friendship with Pirithoüs (pi-RITH-oh-us) of Thessaly, king of the Lapiths. Pirithoüs invited Theseus to his wedding; he also invited his neighbors, the Centaurs (creatures with the body of a horse and the chest and head of a man). The Centaurs were an unruly bunch who drank too much wine and began making trouble. When they tried to kidnap the bride, Theseus quickly stepped in, fighting them off and saving her.

The story of the Lapiths and the Centaurs was popular in Greek art as a way to picture the victory of the civilized Greeks (represented by the Lapiths) over the barbarous Persians (represented by the Centaurs) in a battle that took place in 480 B.C.

September 2009

The discovery of Pompeii in 1748 ignited interest in ancient Greek and Roman art and mythology throughout Europe. This fresco is part of a large wall painting found in a Pompeiian home.
Roman, Standing Deity Holding Horn and Bucket, 1st century A.D., fresco, Minneapolis Institute of Arts, gift of Mr. and Mrs. Lawrence Rubin

Ancient Greek artists used idealized human forms to embody the qualities of perfection, strength, and power they so admired. Neoclassical artists of the 18th and 19th centuries found inspiration in those ancient ideals.
Greco-Roman, Torso of a Dancing Faun, 1st century A.D., marble, Minneapolis Institute of Arts, The Putnam Dana McMillan Fund

A strong and calm Theseus is a fine example of the Neoclassical style.

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Greek Mythology Inspires European Art

The discovery of the ruined Roman cities of Herculaneum (her-cue-LANE-ee-um) and Pompeii (pom-PAY) in the 1700s caused a surge of interest in Greek and Roman mythology and classical art. This fascination with antiquity resulted in a new art style, called Neoclassicism (meaning “new classicism”). Artists working in the Neoclassical style used stories from Greek and Roman mythology as well as the ideal forms and figures of ancient art.

By the mid-1800s, when Antoine-Louis Barye created Theseus Slaying the Centaur Bianor, the theatrical and emotional style known as Romanticism had become popular. The excitement of a story’s turning point appealed to Romantic artists.

Barye’s large bronze sculpture is partly Neoclassical and partly Romantic. The mythological subject and the portrayal of Theseus as an ideal human being-powerful, beautiful, and calm in the face of danger-are Neoclassical. The choice of a dramatic moment-Theseus about to strike the struggling Centaur-is typical of Romanticism.

The emotion and drama typical of Romanticism are seen here at the height of the action.
September 2009

Barye’s skill at showing animal anatomy and realistic movement can be seen in the horse body of the Centaur.

Barye is best known for vivid depictions of animals in action, especially of fierce predators attacking prey.
Antoine-Louis Barye, Panther Devouring a Rabbit, 1850, Bronze, Minneapolis Institute of Arts, gift of James J. Hill III, Maude Hill Schroll, and Louis W. Hill, Jr.

Barye’s animal sculptures look incredibly real.
Antoine-Louis Barye, Lion and Serpent, 1832-33, bronze, Musée du Louvre, Department of Sculptures, LP 1184. Photo: Etienne Revault. 2000 Musée du Louvre/Etienne Revault

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Animal Enthusiast

Barye’s interest in animals and his desire to sculpt their likenesses made him a frequent visitor to menageries (zoos), especially in Paris. He sketched live animals in motion and studied the bodies of animals after they died.

Barye’s skill at modeling animals is obvious in the Centaur struggling at the hands of Theseus. Its horse body is muscular and flexed in action as the Centaur twists and writhes to free itself. We can sense the violent movement because Barye has shown every detail with such care that the mythical being seems real.

Animals in action were Barye’s most common subject and the one for which he is best known. Barye was the first artist to make animal sculpture a major art form by portraying animals with the same dignity and naturalism used in picturing humans. In Theseus Slaying the Centaur Bianor, the hero’s human body and the Centaur’s horse body were both sculpted with the same expert skill and craftsmanship.

Eugéne Delacroix, who lived at the same time as Barye, also studied animals at the menagerie in Paris. This lioness shows his attention to creating a naturalistic likeness.
Eugéne Delacroix, Reclining Lioness, 1855, oil on panel, Minneapolis Institute of Arts, bequest of Mrs. Gertrude Hill Gavin
September 2009