where is 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.  
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”. 
This sculpture was commissioned by Cardinal Borghese of the Catholic Church and is still located in the Galleria Borghese—the room for which it was commissioned—in Rome, Italy. It depicts the Roman mythological story of the abduction and subsequent rape of Proserpina by the god, Pluto.
The intricate, lifelike details with which Bernini imbued the sculpture further this story and give it an emotional depth that connects with the viewer. The way Proserpina’s hand presses into and distorts Pluto’s face, and the impression that Pluto’s hand makes in Proserpina’s leg, serve to tell the story. These details inform us of the unwanted advances, as well as the sexual nature of the scene. The fact that the bodies are partially clothed, their genitalia hidden, only adds to the sensuality of this moment. The story is told through a corporeal representation that reaches to the core passions of every human being. The emphasis on the visceral is a common expository technique in Baroque sculpture. 7
Bernini Gian Lorenzo
The work portrays the abduction of Proserpina by Pluto, the god of the underworld.
Present in both Claudian (De raptu Proserpine) and Ovid (Metamorphoses, V, 385-424), the myth tells of the abduction of the maiden on the shores of Lake Pergusa, in the vicinity of Enna. Crazed by sorrow, her mother, the harvest goddess Ceres, caused a drought that forced Jupiter to intercede with Pluto to allow Prosperpina to return to her for six months a year. Bernini represents the culminating moment of the action. The proud and insensitive god is dragging Proserpina into Hades, his muscles so taut in the effort to hold the writhing body that Pluto’s hands sink into her flesh.
This piece portrays a moment from the myth of Pluto and Proserpina (also known as Proserpine), a tale present in both Metamorphoses by Ovid, a Roman poet from the 1st century CE, and De raptu Proserpinae, a piece written 400 years later by the Latin writer Claudian.
Bernini completed The Rape of Prosperina between 1621 and 1622. Though the Naples-born artist was just 23 years old at the time, he was already seeing success as a budding artist. While he wouldn’t complete his architectural masterpiece, St. Peter’s Basilica, for over 40 years, he had already carved out a name for himself in the early 1620s as a celebrated sculptor with four masterpieces: David; Aeneas, Anchises, and Ascanius; Apollo and Daphne; and, of course, The Rape of Proserpina.
The Rape of Persephone
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.