Antonio Bernini Research Paper

William Henry Rinehart, Clytie,1872, was inspired by classical mythology. Clytie was a water nymph who Apollo completely had no interest in. Clytie fell in love with Apollo at first sight but he pays her no mind. Apparently, Apollo was in love with another girl name Daphne. Clytie spent nine days without food or water laying on a rock because she wanted to see Apollo ride across the sky. Apollo got annoyed and then fell out of patience one day. He threw a burning sun arrow right at Clytie head, which turned her into a sunflower. Clytie was the daughter of two powerful gods, she was beautiful, but not enough to get Apollo’s attention. Rinehart captures Clytie beauty from head to toe. Carefully sculpting the details in her long hair to her womanly curves. People who know the story of Clytie knows the importance of including the sunflower with the sculpture. Rinehart included the sunflower as Clytie holds it in her left hand. By including this significant object, it helps communicate the story of Clytie.

The statue of Dionysus is influenced by Greek classical styles because it has a contrapposto pose with the right arm and right leg stiff and the

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

Apollo tries explaining to Daphne that “non insequor hostis” when he exclaims that “amor est mihi causa sequendi!” (line 507). Additionally, Apollo examines Daphne’s figure in an excessive and very disturbing manner, further proving that Cupid’s arrow did fulfill its short-term purpose of making Apollo fall in love. Daphne, on the other hand, did not want to be involved in an relationship to begin with, as shown when she begs her father “da mihi perpetuā...virginitate frui!” (lines 486 through 487).

The chosen art piece, from Roman origin, is titled “Dionysus” and portrayed Dionysus, the god of wine, with his follower Pan. This artwork is a great example of Greek art’s influence in Roman artwork. The main elements of Greek’s naturalistic art, specifically of High Classical period, are rendered beautifully in this piece combined with distinctive elements from verism, unique to Roman art. So, the idealism of Greek art and the individualism of Roman art come together to create an art piece that is divine, mythical, and yet very human and therefore, relatable.

To start, I will talk about the image depicting Psyche and Eros. This image depicts one of the myths associated with Eros. In this myth Eros falls in love with Psyche, a mortal. William-Adolphe Bougereau painted this beautiful piece in 1895 (see fig.3). It depicts the abduction of Psyche by Eros. The image shows Eros with Psyche in his arms on the way to his home where he will live with her. Eros is a winged man who is almost nude and Psyche is a woman with moth wings. Psyche seems to be at peace in the arms of Eros.

The sculpture, in my own opinion, is very powerful and gives the reader a good visual after reading Ovid’s work. After reading the story I had a better understanding of what exactly had happened, and I felt a strong feeling of empathy for Daphne. All she wanted was to stay a virgin, much like Artemis and even her own father had agreed with her decision. But he knew this would be a difficult task as she was a beautiful woman. This proves to be true, and although she stays a virgin, she is forever trapped by a man and his love. I could not imagine being forever trapped like that, forever being used for their own pleasure. Apollo states that she will forever be with him, as his arrows and in creating his music in his lyre. He also tells her that she will forever be honored, but how can it be an honor if she is reduced to nothing but a beating heart and her beauty. She had become nothing but an object for Apollo to use repeatedly. Bernini’s creation is ironic because it shows the way Daphne’s peril will forever be frozen in time. There is no escape for her now that she is in the arms of Apollo. This story made me think back to the horrible treatment of women in these stories, they are completely disregarded as people and thought of as prizes. I feel empathy for each woman that is treated badly in the stores we’ve read so far, and I am glad that women have it much better nowadays. Though the stories are not real, they still show the place women had in society at the time. It portrays how far we’ve come as a human race with treating each other equally.

Charles Champoiseau uncovered pieces of masterfully worked Parian marble in April of 1863.1 On Samothraki, the island from which Poseidon is said to have watched the fall of Troy, these segments of stone came together to form four main sections: a torso, a headless bust, a section of drapery, and a wing.2 The sections were shaped to be assembled though the use of cantilevering and metal dowels, allowing the sculptor to extend beyond medium’s gravitational limitations (fig. 2). Just one year later, the pieces were assembled (and those missing were remodeled), and the Greek goddess Nike was revealed at the Louvre.

The piece is a red-figured, wine bowl that is attributed to the Niobid Painter. It was made in Athens, Greece around 460-450 BC, and found in Altamura. Puglia, Italy (British Museum). There are two scenes on top of one another that occur in the piece. The top scene is the creation of Pandora. She is standing rigid while five of the gods are standing around her. Athena is about to put a wreath on her head. The scene below displays a frieze of dancing and playing satyrs. Because the vase is round it isn’t possible to see all the figures in the piece. But looking at the piece from the front, six gods are portrayed in the top scene. The gods in the scene from left to right are: Zeus, Poseidon, Athena, Pandora, Ares, and Hermes. The gods in the piece are identifiable because of distinguishable traits that certain characters

Moreover, the subject of the artwork is love can come from emotional attraction and one can be blinded by their other’s physical beauty. Romeo and Juliet need to realize that love based solely on physical attraction will lead to doom. The couple needs to turn a blind eye to their beauty, so an emotional love can blossom. The fateful night of the Capulet party inspired my thesis. “Her beauty is too good for this world; she’s too beautiful to die and be buried,” (Act 1, Scene 5, Page 2. "

While Gian Lorenzo Bernini’s sculpture “Apollo and Daphne” depicts a Romanian story of forbidden love, Ron Mueck’s “Two Women” portray two elderly women hyper-realistically. By analysing the meaning behind the two sculptures, evidence is given that the two artists had different intentions for their work. The story “Apollo and Daphne” is from a roman poem named “Metamorphoses” by a man named Ovid. In the story, Apollo is hit by a magical arrow from a god of

Thesis: B. What Venus is a representation of, the artist that revolutionized the meaning of the nude Venus, what hidden meanings were used in Sandro Botticelli’s art piece, and what impact Botticelli had towards the church by using the Neo-Platonist thought. Preview: C. 1. Who is Sandro Botticelli? How did he change a whole society through one subjected piece?

Artemisia Gentileschi, Venus and Cupid, ca. 1625-30. Oil on canvas, 38 x 56 5/6 inches. Virginia Museum of Fine Arts, Richmond, VA.

The era of Mannerism is renown for its increasingly complex works of art, much like the High Renaissance before it, and the discipline of sculpture is no exception. Out of this period comes more intricate poses, forms, and emphasis on the illusion of movement which is perhaps most evident in Giambologna's "The Rape of the Sabine Women". His sculpture depicts a young man attempting to carry a struggling young woman as he stands over the contorted body of an older man, either the woman's husband or father. What is interesting about this work is not only the realistic human forms and perceived chaos of the moment, but also the lack of a dominant side from which this sculpture would be viewed. In order to achieve these features, Giabologna utilizes a combination of various textures and diagonal lines to create the complete illusion of muscle, flesh, energy, and multiple focus points.

The term “Eros,” referring to passionate love in English, has long been the mainstream of themes in drama, literature, arts, and cinematic media. The fascinating power of love has been exhaustively publicized, and the pursuit of love is diffused in streets and lanes. Conversely, in ancient times, many poets, especially Virgil, Ovid and Apuleius, described eros as such an evil spirit that it will destroy the female soul thoroughly, except for the one in Apuleius’ story of Cupid and Psyche. Even if taking into account the historical background of a patriarchal community and therefore the esteemed male dominance, the particular case of Psyche’s surviving and even thriving her encounter with eros