where is the rape of persephone statue
This depiction captures the scene at the climax of the moment; Pluto is lifting Proserpina into the air, and she is visibly fighting back. This snapshot in time contains a considerable amount of life-like detail. These details, like the expression of fear on Proserpina’s face or the sense of overwhelming force created by the muscular form of Pluto, inform the viewer and tell an entire story with a single moment in time. This dynamic representation, a trait developed by the Baroque masters, 7 creates a vivid and believable representation of this myth.
The contorted, serpentine configurations of the figures’ bodies expand upon this dynamism; they invite the viewer to move around the sculpture, view it from every side, and become a part of the dynamic story. By forcing the audience to actively view the piece, Bernini ensures that the viewer’s experience of the sculpture is expanded and dynamic in its own right.
The Rape of Proserpina (Italian: Ratto di Proserpina) is a large Baroque marble sculptural group by Italian artist Gian Lorenzo Bernini, executed between 1621 and 1622. Bernini was only 23 years old at its completion. It depicts the Abduction of Proserpina, who is seized and taken to the underworld by the god Pluto.  
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”.  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”.  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.  Bernini’s own son and biographer, Domenico, called it “an amazing contrast of tenderness and cruelty”. 
In the 17th century, artists in Italy began embracing an increasingly elaborate style. Known as the Baroque movement, this shift toward an ornate, over-the-top aesthetic is evident in both the art and architecture of the time, with master of materials Gian Lorenzo Bernini at the forefront. In addition to designing St. Peter’s Basilica (one of Italy’s most important monuments), Bernini was a celebrated sculptor, with The Rape of Proserpina among his most treasured creations.
However, “once she realized that Pluto had abducted Proserpine,” the Getty explains, “she became angry and caused the earth to dry up, and the harvests to fail. Jupiter saw from the heavens that the earth was barren and dead. He decided to intervene, and eventually a deal was made: Proserpine would spend half of the year with her mother and half of the year in the underworld with Pluto.”
Cardinal Scipione Borghese commissioned The Rape of Persephone from the 23-year-old Bernini in 1621, giving it to Cardinal Ludovisi in 1622. In 1908, the Italian state purchased the work and relocated it to the Galleria Borghese.
These figures are hardly the gritty street walkers that populate Caravaggio’s paintings, but certain details are breathtaking for the verisimilitude, especially the dimpling of Persephone’s flesh as Pluto’s fingers dig into her thigh and waist.
It’s amazing how lifelike painters can render their subjects using only pigments and canvas. It’s perhaps even more impressive, however, when artists are able to capture texture, emotion, and movement in a solid piece of stone. Marble sculpture has deep roots in European history, dating back to the societies of ancient Greece and Rome.
When the masters of the Renaissance revived Classical sculpture, they also revived a fascination in Greek and Roman mythology. That fascination carried over into the Baroque. So, to understand Bernini’s sculpture, we first have to understand the mythology behind it.