Multi Media

Vincent R Fields

Comp II

06/30/2007

Berninis Pluto and Proserpina Essay

The sculpture Pluto and Proserpina was created between 1621 and 1622. The sculpture was created by Gianlorenzo Bernini; one of the most popular sculptors of the 17th century1. The purpose of the work was to give the viewer an impression of the poetic and the theatrical. Cardinal Scipone commissioned the work to simply display a symbol of power and admiration2. The background of the sculpture represents the cycle of spring3.

The sculpture was kept at Cardinal Scipones Villa until 1908 when it was then moved to his Gallery in Rome4. The Borghese Gallery in Rome fused Berninis works with the space provided. The sculpture was scenographic in nature to the public5. It was purchased for public viewing as a gift to the people of the state. Many of Berninis works were located at the Borghese Gallery to understand the conventions of the Renaissance and theater. The work was representational of a god and his trophy on display.

At the early age of eight Gianlorenzo Bernini took an enthusiastic interest in sculpture. Born in 1598 at the Kingdom of Naples, he developed his strong reputation from working with his father Pietro at his work shop6. During his time in the work shop he was noted as a child prodigy by those who observed his works. Gianlorenzo father was an accomplished Florentine sculptor witch further helped him develop his talent. The Pluto and Proserpina along with many other works opened many opportunities for Bernini7. When words of his works were put out Gianlorenzo duties were increased after 1629, when he was appointed architect of St. Peter's Basilica. At that high point he developed a new form having to vigorously link, sculpture and architecture8.

Bernini committed a handful of his works to the Borghese Gallery in Rome. The works were secular and involved with poetic and symbolic meaning to the spiritual9. Although his sculptures were not directly implied to Christian means. They were fashioned to give an impression to spark interesting conversation applied to Christian appeals10. Comparisons were made between Proserpinas death and Jesus death verses each others rebirth. More viewer ship stirred up the same general conversation as time went by in the Gallery Borghese11.

The Pluto and Proserpina affected the consumption, intention, and reception of social issues in the era12. The Pluto and Proserpina piece involved the influence of what the Pope conveyed to Bernini. This particular work was a part of the highest orders because Bernini had to conceptualize any intuitive ideal of which he could think13. In Berninis mind the story behind the work was an image of panic from Proserpina, a non respondent image of Pluto and the three headed dog fluffy behind them both. Those images had to have a spiritual vision behind them for the reception of the viewer to recall the story14.

The position of the sculpture was apart of theater, ritual and social life as a Symbol of power through. It has a white marble medium. It was pieced together to give the illusion that it was created by one slab of marble. Proserpinas body being presented as a trophy by Pluto could be seen as a representation how strong god is. Pluto was made to have a mature muscular frame. Although the skin was sagging in the sculpture, the framework of strength still came through. Pluto’s hand sunk into Proserpinas skin is a sign of domination. The ease at witch it looks executed gives an appearance of triumphant positioning. Proserpinas tears and struggle add to the sculptures theatricality. She has a youthful soft frame. The passionate wind in her hair combined with her hands digging into Pluto’s face sums up the climax of the story in a single moment15. The two twisting contrasting figures display Berninis grasp on the ideals of the story behind the sculpture.

The story behind the sculpture is that it represents the nature of the seasons. It was about the abduction of Proserpina the daughter of Ceres. Proserpina was a virgin. The abduction was done by Pluto with permission from Proserninas own mother. Pluto consumed her innocence. Every Spring she is welcomed back to earth with a carpet of flowers as a sign of rebirth. On her return to Hades, the cycle of rape and loss of innocence occurs again. Christian interpretations hold this story as Christ’s death and resurrection16.

1 Fehrenbach, F Berninis light Art History v. 28 no 1 Febuary 2005 p. IV, page 28

2 Garcia Cueto, D Noticia de Dos regulos para Felipe IV, obras be Gian Lorenzo Bernini Cuadernos de Arte de la Universidad de Granada no. 36 2005 page 386

3 Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV page 359

4 Oxford University Press 2006

5 Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV page 353

6 Oxford University Press 2006

7 Oxford University Press 2006

8 Fehrenbach, F Berninis light Art History v. 28 no 1 Febuary 2005 p. IV, page 30

9 Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV page 255

10 Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV page 256

11 Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV

12 Fehrenbach, F Berninis light Art History v. 28 no 1 Febuary 2005 p. IV page 33

13 Garcia Cueto, D Noticia de Dos regulos para Felipe IV, obras be Gian Lorenzo Bernini Cuadernos de Arte de la Universidad de Granada no. 36 2005 page 362

14 Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV page 259

15Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV page 253

16 Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV page 259

Work Cited

Fehrenbach, F. Berninis light Art History v. 28 no 1 Febuary 2005 p. IV, page 1- 42 USF Library 2nd floor section AG

Garcia Cueto, D. Noticia de Dos regulos para Felipe IV, obras be Gian Lorenzo Bernini Cuadernos de Arte de la Universidad de Granada no. 36 2005 page 383-393 USF library 2nd floor section AG

Oxford University Press 2006 USF online library Grove Art

Warwick, G Speaking Statues: “Apollo and Daphne” at the Villa Borghese. Art history v. 27 no. 3 june 2004 p. IV page 353- 381 USF Library 2nd floor section HD