Duckworth, 2005 • Wittkower, Rudolf. Before her prayer was ended, torpor seized on all her body, and a thin bark closed around her gentle bosom, and her hair became as moving leaves; her arms were changed to waving branches, and her active feet as clinging roots were fastened to the ground—her face was hidden with encircling leaves.[8].
Depicting the initial stage of Daphne's transformation, with her fingers shown as branches of laurel and her toes taking root into the ground On constate cette évolution du corps de la nymphe en même temps que l’étonnement d’Apollon. The story of Apollo and Daphne has inspired many different artists throughout history.
Some of the most important academic resources on Bernini and his works include the following;• Bauer, George, ed. en mosaïque dans l'antiquité puis beaucoup en peinture ensuite, le sculpture fait figure d'exception. The statue presents both a partially nude woman who tries to flee her pursuer. [4], While the sculpture may be appreciated from multiple angles, Bernini planned for it to be viewed slightly from the right because the work would have been visible from the doorway where it was located. However, Daphne was devoted to the goddess Diana, and had resolved never to marry and to remain a virgin for her entire life.When Apollo pursued her, driven by his lust, she ran away in panic, calling to her father the river God to help her. La jambe gauche du dieu est en l’air, ce qui donne la sensation de son élan précipité. "[13], "Remarks on Mr. Flaxman's Lectures on Sculpture", "Walks in Rome and its Environs No.
Her uplifted and tilted face is slightly obscure as she slowly transforms into a tree before Apollo’s eyes. Barolsky, Paul.
Daphné est une nymphe, fille du Dieu fleuve Pénée.
L’extase de Sainte Thérése et le groupe des quatre statues restent ses œuvres les plus connues. Cornell University Press, 1981.
[3] Some historians, however, discount the importance of Finelli's contribution.
From contemporaries who worked directly under him or competed with him for commissions, up to modern artists who looked to his use of emotional multimedia design for inspiration, a multitude of artists can thank Bernini for the development of their own styles.However in the backlash against the Baroque that occurred with the advent of Neoclassicism, the accolades faded into harsher criticisms.Though the Baroque and Bernini along with it went out of fashion for a long period of time, in the 20th century he was "rediscovered" as a true master of realism and emotion, earning a renewed respect and influence on a new generation of artists, which continues up until this day. Bernini's career spans the height of the Italian Baroque. Bernini. Daphne is the ideal Petrarchan Renaissance beauty: fair-skinned, blonde and seemingly modest.
Le rendu est très réaliste sur les chairs. His figures often seem to be in the midst of speaking or screaming, and the viewer feels as if he had intruded upon an intimate moment.Narration: The narrative element is emphasized unusually heavily for a sculpture. Cette œuvre n'est pas isolée puisqu'elle fait partie d'un groupe de quatre statues : Énée et Anchise fuyant Troie (1619-1620), Pluton et Proserpine (1621-1622), Apollon et Daphné (1622-1625), et David (1623-1624). La très fine musculature d’Apollon est légèrement et admirablement marquée.
Bolland, Andrea. The sculpture was the last of a series of works commissioned by Cardinal Scipione Borghese at the beginning of Bernini’s career. La dernière modification de cette page a été faite le 18 novembre 2020 à 13:52. Although it has since been moved into the center of the room, originally the sculpture was located near the wall, such that the viewer would first approach it from behind.
Alors qu'Apollon la poursuit, celle-ci, épuisée, demande à son père, le dieu fleuve Pénée, de lui venir en aide. La présence de ce mythe païen dans la villa du cardinal serait « justifiée » par un petit couplet moral composé en latin par le cardinal Maffeo Barberini, futur pape Urbain VIII et gravé sur le cartouche de la base. Tandis qu’Apollon, poussé par le désir amoureux, a l’air à la fois surpris et ravi. Apollo clutches Daphne's hip, pursuing her as she flees to escape him. ».
Apollon et Daphné est une sculpture du Bernin (1622-1625) conservée à la Galerie Borghèse When Phoebus (Apollo), fated by Cupid's love-exciting arrow, sees Daphne, the maiden daughter of Peneus, a river god, he is filled with wonder at her beauty and consumed by desire. Il alterne les surfaces rugueuses, polies, et ciselées.
Le Bernin est un peintre et un architecte mais il reste avant tout un sculpteur.
Apollo here is cast as the aristocratic youth in his elegant hunting outfit, woven with gold thread and encrusted with jewels. While pieces of sculpture were traditionally designed to be seen from one particular angle (an optimal viewpoint), no such viewpoint exists here; the viewer has to walk all the way around the sculpture for the maximum effect.When approaching the sculpture from behind, Daphne's body is obscured by Apollo, and only bits of the tree are visible, but as the viewer walks around, he discovers Daphne's body. He produced various sculptures for the Borghese Family and Apollo and Daphne was their last commissioned and is among Bernini's most popular artworks.During his career Bernini had no shortage of commissions, much to the annoyance of other artists and imitators.
Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. Wilkins, Ann Thomas. The life sized sculpture of Apollo and Daphne is a hand carved statue that was created by Gian Lorenzo Bernini.
The sculpture was the last of a number of artworks commissioned by Cardinal Scipione Borghese, early on in Bernini's career. And just as my head with its uncropped hair is always young, so you also will wear the beauty of undying leaves. La branche de laurier qui pousse du corps de Daphné et qui vient s'interposer juste devant les cuisses du dieu.
Trans.
Le Bernin, à l'âge de vingt-quatre ans, commence cette œuvre en 1622 et la finit en 1625.
Il dit : « Celui qui aime à poursuivre les formes fugaces du plaisir ne trouve que feuilles et fruits amers sous sa main.
"Bernini and Ovid: Expanding the Concept of Metamorphosis". Elle fait partie d’un groupe de quatre statues.
Depicting the initial stage of Daphne's transformation, with her fingers shown as branches of laurel and her toes taking root into the ground On constate cette évolution du corps de la nymphe en même temps que l’étonnement d’Apollon. The story of Apollo and Daphne has inspired many different artists throughout history.
Some of the most important academic resources on Bernini and his works include the following;• Bauer, George, ed. en mosaïque dans l'antiquité puis beaucoup en peinture ensuite, le sculpture fait figure d'exception. The statue presents both a partially nude woman who tries to flee her pursuer. [4], While the sculpture may be appreciated from multiple angles, Bernini planned for it to be viewed slightly from the right because the work would have been visible from the doorway where it was located. However, Daphne was devoted to the goddess Diana, and had resolved never to marry and to remain a virgin for her entire life.When Apollo pursued her, driven by his lust, she ran away in panic, calling to her father the river God to help her. La jambe gauche du dieu est en l’air, ce qui donne la sensation de son élan précipité. "[13], "Remarks on Mr. Flaxman's Lectures on Sculpture", "Walks in Rome and its Environs No.
Her uplifted and tilted face is slightly obscure as she slowly transforms into a tree before Apollo’s eyes. Barolsky, Paul.
Daphné est une nymphe, fille du Dieu fleuve Pénée.
L’extase de Sainte Thérése et le groupe des quatre statues restent ses œuvres les plus connues. Cornell University Press, 1981.
[3] Some historians, however, discount the importance of Finelli's contribution.
From contemporaries who worked directly under him or competed with him for commissions, up to modern artists who looked to his use of emotional multimedia design for inspiration, a multitude of artists can thank Bernini for the development of their own styles.However in the backlash against the Baroque that occurred with the advent of Neoclassicism, the accolades faded into harsher criticisms.Though the Baroque and Bernini along with it went out of fashion for a long period of time, in the 20th century he was "rediscovered" as a true master of realism and emotion, earning a renewed respect and influence on a new generation of artists, which continues up until this day. Bernini's career spans the height of the Italian Baroque. Bernini. Daphne is the ideal Petrarchan Renaissance beauty: fair-skinned, blonde and seemingly modest.
Le rendu est très réaliste sur les chairs. His figures often seem to be in the midst of speaking or screaming, and the viewer feels as if he had intruded upon an intimate moment.Narration: The narrative element is emphasized unusually heavily for a sculpture. Cette œuvre n'est pas isolée puisqu'elle fait partie d'un groupe de quatre statues : Énée et Anchise fuyant Troie (1619-1620), Pluton et Proserpine (1621-1622), Apollon et Daphné (1622-1625), et David (1623-1624). La très fine musculature d’Apollon est légèrement et admirablement marquée.
Bolland, Andrea. The sculpture was the last of a series of works commissioned by Cardinal Scipione Borghese at the beginning of Bernini’s career. La dernière modification de cette page a été faite le 18 novembre 2020 à 13:52. Although it has since been moved into the center of the room, originally the sculpture was located near the wall, such that the viewer would first approach it from behind.
Alors qu'Apollon la poursuit, celle-ci, épuisée, demande à son père, le dieu fleuve Pénée, de lui venir en aide. La présence de ce mythe païen dans la villa du cardinal serait « justifiée » par un petit couplet moral composé en latin par le cardinal Maffeo Barberini, futur pape Urbain VIII et gravé sur le cartouche de la base. Tandis qu’Apollon, poussé par le désir amoureux, a l’air à la fois surpris et ravi. Apollo clutches Daphne's hip, pursuing her as she flees to escape him. ».
Apollon et Daphné est une sculpture du Bernin (1622-1625) conservée à la Galerie Borghèse When Phoebus (Apollo), fated by Cupid's love-exciting arrow, sees Daphne, the maiden daughter of Peneus, a river god, he is filled with wonder at her beauty and consumed by desire. Il alterne les surfaces rugueuses, polies, et ciselées.
Le Bernin est un peintre et un architecte mais il reste avant tout un sculpteur.
Apollo here is cast as the aristocratic youth in his elegant hunting outfit, woven with gold thread and encrusted with jewels. While pieces of sculpture were traditionally designed to be seen from one particular angle (an optimal viewpoint), no such viewpoint exists here; the viewer has to walk all the way around the sculpture for the maximum effect.When approaching the sculpture from behind, Daphne's body is obscured by Apollo, and only bits of the tree are visible, but as the viewer walks around, he discovers Daphne's body. He produced various sculptures for the Borghese Family and Apollo and Daphne was their last commissioned and is among Bernini's most popular artworks.During his career Bernini had no shortage of commissions, much to the annoyance of other artists and imitators.
Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. Wilkins, Ann Thomas. The life sized sculpture of Apollo and Daphne is a hand carved statue that was created by Gian Lorenzo Bernini.
The sculpture was the last of a number of artworks commissioned by Cardinal Scipione Borghese, early on in Bernini's career. And just as my head with its uncropped hair is always young, so you also will wear the beauty of undying leaves. La branche de laurier qui pousse du corps de Daphné et qui vient s'interposer juste devant les cuisses du dieu.
Trans.
Le Bernin, à l'âge de vingt-quatre ans, commence cette œuvre en 1622 et la finit en 1625.
Il dit : « Celui qui aime à poursuivre les formes fugaces du plaisir ne trouve que feuilles et fruits amers sous sa main.
"Bernini and Ovid: Expanding the Concept of Metamorphosis". Elle fait partie d’un groupe de quatre statues.