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Leda and the Swan
Massimiliano Soldani-Benzi (Italian, 1656 - 1740)
Italy (Place created)
designed 1725; cast about 1725
Bronze on grey-green marble bases with bronze mounts
62.5 cm (24 5/8 in.)
Andromeda & Leda
Enamored of the beautiful Leda, the god Jupiter seduced her in the form of a swan. In this bronze version of the mythological scene, Leda and the swan are suggestively posed: the arc of the lovers' embracing arms and wings and the curvature of their bodies, poised before union, increases the erotic suspense. The swath of drapery trapped between Leda's thighs, as well as her movement drawing the swan down towards her, hint at the inevitable moment of union.
This tale of seduction, mentioned in
The contrasting textures of Leda's smooth voluptuous skin and the swan's feathers hint at Massimiliano Soldani Benzi's technical virtuosity with bronze casting. He made this Ledaas a pendant to another bronze group, Andromeda and the Sea Monster.
1725 - still in 1767
Possibly Senator Francesco Giovacchino Buondelmonti, 1689 - 1774 (Florence)
Julius Goldschmidt (London, England), sold to Gerald Burdon, June 1964.
1964 - 1997
Gerald Burdon (Onslow Square, London, England), sold through Joanna Barnes Fine Arts, London to the J. Paul Getty Museum, 1997.
Il Trionfo delle Bell'Arti (1767) (p. 13.)
- SS. Annunziata (Florence), 1767
The Twilight of the Medici: Late Baroque Art in Florence, 1670 - 1743 (1974) (pp. 108-109, no. 71.)
- The Detroit Institute of Arts (Detroit), March 27 to June 2, 1974
- Palazzo Pitti (Florence), June 28 to September 30, 1974
Princely Patrons and Enlightened Entrepreneurs (November 6, 2005 to April 1, 2006)
- Liechtenstein Museum (Vienna), November 6, 2005 to January 29, 2006
Bonsi, Bonso Pio. Il trionfo delle bell'arti: renduto gloriosissimo sotto gli auspicj delle LL. AA. RR. Pietro Leopoldo, arciduca d'Austria, principe reale d'Ungheria, e di Boemia, granduca di Toscana ec. ec. ec. e Maria Luisa di Borbone, arciduchessa d'Austria, gran-duchessa di Toscana, ec. ec. ec. in occasione, che gli accademici del disegno in dimostrazione di profondo rispetto verso i lor sovrani, fanno la solenne mostra delle opere antiche di più eccellenti artifici nella propria cappella, e nel chiostro secondo de' PP. della SS. Nonziata in Firenze l'anno 1767, exh. cat. (Florence: Gio. Batista Stecchi and Anton Giuseppe Pagani, 1767), p. 13.
The Twilight of the Medici: Late Baroque Art in Florence, 1670-1743 (Detroit: Wayne State University Press, 1974), pp. 108-9, no. 71, ill.
Gli Ultimi Medici: Il tardo barocco a Firenze, 1670-1743 (Florence: Centro Di, 1974), pp. 108-9, no. 71, ill.
Roethlisberger, Marcel G. "Le thème de Léda en sculpture." Genava 35 (1987), p. 75, fig. 18; p. 89, n. 21.
Pratesi, Giovanni. Repertorio della scultura fiorentina del seicento e settecento (Turin: Umberto Allemandi & C., 1993), p. 101.
Avery, Charles. "The Pedestals, Frames, Mounts and Presentation of Massimiliano Soldani-Benzi's Bronze Statuettes and Reliefs." Furniture History 31 (1995), p. 9; pp. 20-21, nn. 13-14.
Lankheit, Klaus. "Massimiliano Soldani (Benzi)." In The Dictionary of Art. Jane Turner, ed. Vol. 29 (London: Macmillan Publishers Limited, 1996), p. 30.
Fogelman, Peggy, and Peter Fusco, with Marietta Cambareri. Italian and Spanish Sculpture: Catalogue of the J. Paul Getty Museum Collection (Los Angeles: J. Paul Getty Museum, 2002), pp. 277-285, ills. 35, 35F-35H.
The J. Paul Getty Museum Handbook of the Collections. 8th ed. (Los Angeles: J. Paul Getty Museum, 2015), p. 265, ill.