animal’s neck and wings, but without a clear separation between human and animal. This fusion between the two subjects underscores the ambivalent nature of the myth, oscillating between eroticism and violence, desire and submission.

The background is constructed with a balance of cool and warm tones, with areas of green, gray, and ochre creating depth and dynamism. Geometric elements, such as red pennants and broken lines, introduce a sense of tension and movement, perhaps evoking the dreamlike and ambiguous dimension of the scene. The myth of Leda and the Swan has been addressed in art history through various perspectives, often emphasizing the sensuality or drama of the event.

Tagliazucchi, however, seems to explore the theme with a more psychological and abstract approach.

• The fusion between the human body and the animal element suggests a loss of identity and a metamorphosis, which could be interpreted as a symbol of inner transformation.

• The broken lines and geometric shapes introduced in the composition convey a sense of instability, as if the scene were suspended between dream and reality, between attraction and fear. 

Conclusion Tagliazucchi’s Leda and the Swan is a work that moves away from figurative tradition to immerse itself in a more intimate and symbolic expressive language. The fusion of bodies and forms, the use of line as an element of tension, and the choice of contrasting colors contribute to creating an ambiguous and layered atmosphere. The artist reinterprets the myth from a contemporary perspective, offering a reflection on the complexity of human relationships, transformation, and the ambivalence between desire and domination.

by Maria Stone art critic

Oil on canvas 150x110