what peroid of art in the rape of proserpina

Gian Lorenzo developed a twisting pose to remind the audience of Mannerism and combined this with an impression of vital energy. He created various moments and summed them up to form a single sculpture. Similar to some of his works, Gian Lorenzo managed to put tension and emotion in work to achieve a life-like action in the sculpture.
In creating the Rape of Proserpina, Gian Lorenzo Bernini was not limited by the materials. He managed to create warmth, life and movement by carving the marble perfectly well. The excellent work done with the marble earned him earn a large following.

What peroid of art in the rape of proserpina
Others have remarked on the twisted contrapposto or figura serpentinata pose of the group. While reminiscent of Mannerism, particularly Giambologna’s The Rape of the Sabine Women, Bernini permits the viewer to absorb the scene from one single viewpoint. While other views provide further details, a spectator can see the desperation of Proserpina and the lumbering attempts of Pluto to grab her. This was in contrast to the Mannerist sculpture of Giambologna, which required the spectator to walk around the sculpture to gain a view of each of character’s expression. [10] [11]
Most critics have been quick to praise the work. Rudolf Wittkower noted: “representations of such rape scenes depended on Bernini’s new, dynamic conception for the next hundred and fifty years”. [4] Howard Hibbard makes similar comments noting the realistic effects that Bernini had achieved via carving hard marble, such as the “texture of the skin, the flying ropes of hair, the tears of Persephone and above all the yielding flesh of the girl”. [5] The choice of incident to depict the story is commonly cited as well: Pluto’s hands encircle the waist of Proserpina just as she throws her arms out in an attempt to escape. [6] Bernini’s own son and biographer, Domenico, called it “an amazing contrast of tenderness and cruelty”. [7]

What peroid of art in the rape of proserpina
Given the grim nature of this story, it comes as no surprise that Bernini’s sculpture has caused a stir over the last few centuries. Shortly after its completion, Bernini’s depiction of such an unsavory scene was mostly met with praise (the artist’s son and biographer called it “an amazing contrast of tenderness and cruelty”), but celebrating a scene depicting a violent abduction can be troublesome in today’s context.
Crafted in the early 17th century, this marble sculpture illustrates several of Bernini’s strong suits, including his mastery of anatomy and ability to evoke both dynamism and drama. While these achievements continue to garner praise for the sculptor today, its unsavory subject matter has cast a controversial shadow over the work—though it remains a quintessential highlight of both the Baroque era and of marble sculpture as a whole.

Professor Gruber-Miller
Classical Mythology
Final Analysis

A Modern Representation of the Abduction of Proserpina

What peroid of art in the rape of proserpina
Bernini possessed the ability to depict dramatic narratives with characters showing intense psychological states, but also to organize large-scale sculptural works which convey a magnificent grandeur. His skill in manipulating marble ensured that he would be considered a worthy successor of Michelangelo , far outshining other sculptors of his generation, including his rival, Alessandro Algardi His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual whole has been termed by the art historian Irving Lavin the “unity of the visual arts”. A deeply religious man, working in Counter Reformation Rome, Bernini used light as an important metaphorical device in his religious settings, often using hidden light sources that could intensify the focus of religious worship or enhance the dramatic moment of a sculptural narrative.
A further point, in the analysis of the structure with reference to the terracotta head, Hawley gives due credit to Bernini for emulating the same effect, or emotion, without the clear assistance of the ancillary additives. He says, “If its existence can only be explained by rather complex inductive reasoning, the skill and assurance of the model ing of the Head of Proserpina indicate that it was made by the hand of a sculptor of exceptional technical accomplishment, who enjoyed a profound understanding of the means of plastic representation of forms. Even in this fragment of a few inches in height, Bernini was able to
convey both the nature of Proserpina’s physical being and the anguish of her mind. Certainly the recognition of these qualities caused this head to be preserved. With or without the facts of its genesis and historical importance, it is a memorable work of art.”



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