Among the artistic genres, sculpture fascinates me because of the complexity of its techniques and the skill required for its execution. Among sculptors of the past, my favourite is definitely Gian Lorenzo Bernini (1598 – 1680).
The son of a sculptor, he showed great talent and a strong temperament from a very young age. He was the leading Baroque artist and contributed to
the Baroque renovation of the city of Rome, producing works that expressed all the strength and power of the Church.
He was very young when he came into the liking of the rich and cultured Cardinal Scipione Borghese, who noticed his exceptional qualities and the novelty of his style made of accurate and detailed details, of characters portrayed in movement and of a workmanship of marble as if it were a ductile material softened by the use of chiaroscuro, that is, by the skilful use of light and shadow.
Scipione Borghese commissioned four sculptural groups from Bernini, which are now in the
Galleria Borghese and introduce a new element into sculpture, namely life. “Aeneas and Anchises”, “Rape of Proserpine”, “David”, and “Apollo and Daphne” represent mythological scenes and Biblical characters as if they were right in front of us and something was happening at the exact moment we observe them. Life with its force and violence seems to come out of these works where bodies are contorted, muscles are tensed and lips are always on the verge of emitting a scream or a last word.
‘Aeneas and Anchises’ (1618-1619) is the first sculptural group made for the Cardinal and the one that probably involved his father Pietro the most with his advice, Gian Lorenzo being in his early twenties. Compared to the later works, the strength and vitality are less evident, but Bernini’s skill in modelling the marble to his liking to differentiate the skin of the characters depicted is already evident: soft and wrinkled for the elderly Anchises, florid and turgid for Aeneas, smooth and soft for his son Ascanius..
The ‘Rape of Proserpine’ (1621-1622) represents the climax of Pluto’s abduction of Proserpine. The girl attempts to escape from the grasp of the god of the Underworld and we sense the violence and strength from her powerful hands that plunge into the side and thigh of the fertility goddess.
The girl is unable to escape despite trying with all her might to defend herself by pushing Pluto’s head away from her, and the dog Cerberus is there at the feet of the couple to ensure that no one can prevent the god from taking Proserpine with him.
The ‘David’ (1623-1624) represents the body of the biblical hero twisting as he is about to hurl the stone at the giant Goliath. The muscles are tense, the eyes fixed towards the target and the facial expression contracted.
The whole body is engaged in a rotation as if it were an ancient discus, and standing in front of the work seems to become the target of all that tension.
With “Apollo and Daphne” (1622-1625) Bernini staged the mythological story of Apollo falling in love with the nymph Daphne, who flees from the god who is chasing her and is transformed into a laurel plant the moment she is grabbed. The two protagonists are depicted at the exact moment when, running, the transformation begins and it is as if the real frame of that event has stopped so that the spectator can admire Apollo’s bewilderment and Daphne’s screams.
In this sculptural group, Bernini’s scenographic and theatrical element finds its apotheosis and we all become spectators of a spectacle that is tragic and mythical at the same time.
Gian Lorenzo Bernini’s works are imbued with a transcendental realism, a masterful ability to capture not only the physical appearance of a subject, but also its inner essence.
His statues seem to come to life under his hands, with every single anatomical detail and facial expression conveying palpable emotion. It is this ability to bring stone to life that attracted the attention of successive generations of artists and inspired the development of art during the 18th century.
His works did not just decorate museums or city squares, but shaped the very appearance of Rome. His urban creations are not mere architectural structures, but true masterpieces that have shaped the profile of the eternal city. Walking around Piazza Navona or admiring the grandeur of the Trevi Fountain, one realises how Bernini left an indelible mark on the artistic and cultural topography of Rome.
Gian Lorenzo Bernini is more than just an artist of the past; he is a shining beacon that guides our gaze through the ages, a master whose magic touch continues to inspire and enchant. His works are not just statues or buildings, but windows open onto inner worlds and tangible evidence of the power of art to communicate universal emotions. Next time you visit Rome, allow yourself the pleasure of admiring Bernini’s immortal legacy, an extraordinary journey through timeless beauty.
Grazie, meraviglioso post, amo Italia.
🙂