Pygmalion & Galatea

King Pygmalion of Cyprus is unlucky in love; though he is an accomplished sculptor of ivory godliness, able to capture the likeness of anyone who befits his muse. His dedication to his craft leaves him no time to admire the beauty of women. Dissuaded from the rude, selfish women he’s met, he swears off marriage and women altogether, and instead focuses all his passions into sculpture. Pygmalion begins to sculpt a divine woman in his own visage of beauty and grace, though also modeled after Aphrodite, the goddess of love. Throughout the development of the work, he falls in love with her and names her Galatea (translated to “she who is white like milk”). Entranced by her loveliness, Pygmalion begins to treat Galatea as if she were alive, showering her in jewels, clothes, and flowers (as any man in love would do for his wife), and kissing her in adoration. He desired her to be his wife, completely enchanted and transfixed by his own creation. On the festival day to honor and celebrate Aphrodite, Pygmalion made offerings to her altar and wished that she would grant him a woman like his ivory statue figurine (though his unspoken desire was to have the beautiful sculpture for his wife in actuality). Endeared by his impassioned love, Aphrodite travelled to see the creation for herself and was astonished by her beauty and likeliness it resembled to Aphrodite herself. Feeling honored, she granted Pygmalion’s wish. When the sculptor returned home and ritually kisses Galatea, he noticed rose tints in the figurine’s skin tone. Realizing that his wish had been granted, an overjoyed Pygmalion witnesses the cold stone transform into warm tenderness; his statue was alive and smiling admirably back at her creator. The love the two of them had for each other grew, leading to an exchange in vows at their wedding days later, with Aphrodite bestowing her blessing. 

The Pygmalion and Galatea narrative is visualized in four panels that read from left to right, with each representing a different stage of the myth. 

The first panel depict the epiphany and ideation brainstorming that Pygmalion realizes. The second work is a close-up of the king's admiration for his creation as he begins to form her essence. The third piece foreshadows the couple's inevitable union with their touch insinuating Galatea's breath of life. The fourth mixed media artwork depicts the climatic resolution in which a surprised Pygmalion realizes that his wish had been granted by Aphrodite, as evident by Galatea’s animation and embrace. 

Upon further research and study, I’ve discovered a psychological concept entitled the Pygmalion Effect, a phenomenon about high expectations leading to enhanced or bettered performance (titled after the myth of Pygmalion and Galatea). Robert Rosenthal, a psychologist, and Lenore Jacobson, an elementary school principal, led a study in the 1960s that involved studying the high expectations of teachers’ deliverance and verve on their students, with the results favoring better performance from their students. As a teacher, this study piqued my interests and adds an additional level of complexity to my contemporary retelling of the Pygmalion and Galatea myth. 

Dani Papa

"The Pygmalion Effect" Series: in order from left to right:

"The Pygmalion Effect: The Epiphany"

Acrylic Paint, Acrylic Paint Marker, Graphite, Liquid Gold on Wood Panel

47.5” x 23.5”

2022

"The Pygmalion Effect: Enamored by Aesthetics"

Acrylic Paint, Acrylic Paint Marker, Liquid Gold, Graphite on Wood Panel 

29.5” x 23.5”

2022

"The Pygmalion Effect: Gaze of Desire"

Graphite, Acrylic Paint, Liquid Gold on Gessoed Red Oak Panel

48" x 32"

2022

"The Pygmalion Effect: Self-Fulfilling Prophecy"

Graphite, Aerosol, Acrylic Paint, Liquid Gold on Gessoed Red Oak Panel

48" x 32"

2022