“Throughout the Ages, many Artists and Sculptors (including Leonardo da Vinci, Michelangelo, Correggio, Rubens, Cezanne, Moreau, Dali and others) have interpreted this famous Greek Myth.  All of the renowned paintings and sculptures show Leda and the Swan in various erotic poses, but both are always static, either standing or lying on the ground.  

The first thing that hit me is since the Swan has magnificent wings, why not put the Swan in the air?  Therefore, since the Swan flew into Leda’s arms, and since I always strive for maximum emotion and movement, I decided to put the Swan in the air, flying into Leda’s arms, illustrating the exact Myth.  Here is my interpretation.”

“This is a medium-size (three feet [85 cm] tall) table-top sculpture.  Unlike my previous slim athletic nudes (Diana, Pygmalion’s Galatea, etc.) possessing perfect, but probably  unobtainable, bodies, Leda reflects a mature full-bodied woman, fit to copulate with the King of the Gods and give birth to the most beautiful woman in Greek Mythology.  I have positioned two eggs (cracking open) and a small Trojan Horse by Leda’s feet to project the symbolism, which I believe Dali would approve.”

“This sculpture was interesting for me since I had to learn the anatomy of a Swan.  The Swan is one of the most majestic of all birds when it glides across the water and when it flies high in the air with its legs and large webbed feet tucked away into its tail feathers so one only sees the swan’s wonderful streamlined body, framed by beautiful powerful wings.  But the Swan, which is the total epitome of grace, has two times when it appears a bit clumsy:  (1) when it takes off from the water, churning up the water with its big floppy webbed feet to generate the necessary “take off” speed, and (2) when it is coming in to land, feet stretching out to meet the ground.  So, with the Swan landing in Leda’s welcoming arms, I had to deal with the Swan’s legs and large webbed feet, which few people ever actually see.”  

“Leda’s piercing eyes and the Swan’s piercing eyes are interlocked with each other.  She is actually hypnotized by the Swan, which is really Zeus in disguise.”

“Leda’s face is very Grecian, her eyes the eyes of an aristocratic haughty Grecian Queen, accustomed to ruling.  In a way, when I created her face, I was influenced by the face of Bourdelle’s Herakles.”

“The frontal view of the Swan’s wings forms a perfect “M”.”

“I really lost myself in this interesting sculpture.  I hope that you enjoy viewing it half as much as I enjoyed creating it.”

“Enjoy!”

Best Wishes,

Richard Minns

Richard Minns has been called the 21st Century “Renaissance Man”  because of his unique Neo-Classical Bronze interpretations of Biblical heroes and heroes of Greek Mythology.  Richard especially deserves this title with his interpretation of “Leda and the Swan”.

The powerful, majestic swan, with his piercing eyes hypnotically interlocked with Leda’s haughty aristocratic eyes, are not the eyes of a swan.  They are the eyes of a god: Zeus, King of the gods, the most powerful, most omnipotent god of all Greek Mythology.

Leda has the body of a mature woman, with rounded hips and full, bursting breasts.  Leda emits sexuality and the scene is powerfully erotic.

It has been said before that “Richard has created his own sculptural language, realistic and physical, with anatomical perfection, highly charged with emotion and movement, conveying sexuality in the way of Michelangelo, Rodin and Bourdelle.”  “Leda and the Swan”  embodies every word of this statement.