Gian Lorenzo Bernini

Gian Lorenzo Bernini dominated the Roman art world of the seventeenth century, flourishing under the patronage of its cardinals and popes while also challenging contemporary artistic traditions. His sculptural and architectural projects reveal an innovative interpretation of subjects, use of forms, and combination of media. Forging a path for future artists, he played an instrumental role in establishing the dramatic and eloquent vocabulary of the Baroque style.

A series of over-livesize marble statues commissioned by Cardinal Scipione Borghese for his villa in Rome announced Bernini's novel style and established his role as the foremost sculptor in Italy. One of these works, the Apollo and Daphne (1622–24, Galleria Borghese, Rome), illustrates the typically Baroque theme of metamorphosis. Subtle variations in the texture of the marble create the illusion of soft human flesh transforming into the leaves and bark of a tree. The statue of David(1623, Galleria Borghese, Rome) captures the biblical hero in the climax of his action. Expanding upon Michelangelo's fascination with the human body, Bernini added torsion to create a dynamic figure that extends into the viewer's space.

Bernini was to become the greatest Baroque sculptor, redefining the limits of the medium. There’s a reason why sculptures often show figures in still, heroic poses: for the artist, it’s easier to carve a still figure than one in motion, and that’s just the way it had always been. Bernini pushed sculpture to levels of complexity that were unheard of. He saw his figures at moments of high action, in motion and in the act of transformation. It’s a common theme to his work. Consider this work of an amazingly expressive screaming man, called “The Damned Soul”. It’s actually a self portrait sculpture of Bernini, one he made by allegedly holding his hand over an open flame to study the facial distortions of his painful screams.

The other masterpiece Bernini made in the period is the “Rape of Persephone”, also called “Pluto and Proserpina”. The word rape is a strong word- to Bernini in this work, it meant “abduction”. What we see is Pluto(also called Hades), the powerful god of the underworld, kidnapping Persephone and carrying her away. In true Bernini fashion, the act is captured at a moment of intense motion and struggle.She twists her body to free herself, resisting Pluto by pushing against his forehead with her hand. Her other arm is outstretched for help. It’s hard to see her face, but she screams in agony as visible tears, carved into the marble, slide from her eyes and down her cheeks. An elaborate drapery flows in the wind and captures the movement of the struggle as Pluto reaches across his body and grabs onto her thigh. Bernini envisioned the sculpture as an unfolding event, one that could be read from 3 sides. From the left, seen here, we see the initial struggle and resistance of Persephone. From the front, Pluto is seen arriving in the underworld, and appears in command of his captured victim. From the right, we see the aftermath and the three-headed dog Cerberus (who guards the underworld) along with Persephone’s tears.