1 10 5 https://baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/Self-Portrait_as_a_Young_Man/yeahhhhh.jpg d89f153c718da7fad9803a60e201c4b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bernini's Mythological Sculptures Description An account of the resource Gian Lorenzo Bernini is considered to be one of the important artists from the Baroque period and is considered to be one of the most influential artists of all time. He was born in Naples in 1598 and from a young age was considered gifted in the arts. He was just eleven years old when his father, sculptor Pietro Bernini, brought him as a prodigy to Pope Paul V Borghese. His marble sculptures are his most celebrated works with groundbreaking biblical works like the “David” and “The Ecstacy of St. Theresa.” However, many of his most renowned sculptures, which encompass an earlier point in his career, include his mythological sculptures. Many of these sculptures depicted Green and Roman myths. During the baroque period, alongside several biblical works, we see a large number of mythological artworks– a continuity from the Renaissance period. Bernini’s works are no exception. His mythological sculptures are famous for their dynamic composition and emotional storytelling. Bernini was heavily inspired by many of the myths included in Ovid’s Metamorphoses. This collection explores ten notable mythological sculptures by Bernini and tackles to understand why Bernini was so intrigued by these myths and how he was able to communicate these myths through sculpture. Furthermore, on a broader scale, this collection will also explore the use of mythology in the Counter-Reformation period and its place in Baroque art. Contributor An entity responsible for making contributions to the resource Sofia Silvosa Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/ Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Date A point or period of time associated with an event in the lifecycle of the resource 1598-1680 Type The nature or genre of the resource Sculptures Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Self-Portrait as a Young Man Description An account of the resource Gian Lorenzo Bernini's oil painting self-portrait. This is one of Bernini's most famous paintings. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Wittkower, Rudolf. Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. London: The Phaidon Press, 1966. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Montagu, Jennifer. “Bernini and the Unity of the Visual Arts.” The Burlington Magazine 124, no. 949 (1982): 240–43. http://www.jstor.org/stable/880696. Publisher An entity responsible for making the resource available Unknown patron. Self-portrait as a young man by Bernini, Gian Lorenzo. Accessed December 7, 2021. https://www.wga.hu/html_m/b/bernini/gianlore/painting/selfpor1.html. Date A point or period of time associated with an event in the lifecycle of the resource 1623 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 38 x 30 cm Type The nature or genre of the resource Oil on Canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/Faun_Teased_by_Children/DP248147.jpg 3819103575f81c99dc071fc4215b2e2f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bernini's Mythological Sculptures Description An account of the resource Gian Lorenzo Bernini is considered to be one of the important artists from the Baroque period and is considered to be one of the most influential artists of all time. He was born in Naples in 1598 and from a young age was considered gifted in the arts. He was just eleven years old when his father, sculptor Pietro Bernini, brought him as a prodigy to Pope Paul V Borghese. His marble sculptures are his most celebrated works with groundbreaking biblical works like the “David” and “The Ecstacy of St. Theresa.” However, many of his most renowned sculptures, which encompass an earlier point in his career, include his mythological sculptures. Many of these sculptures depicted Green and Roman myths. During the baroque period, alongside several biblical works, we see a large number of mythological artworks– a continuity from the Renaissance period. Bernini’s works are no exception. His mythological sculptures are famous for their dynamic composition and emotional storytelling. Bernini was heavily inspired by many of the myths included in Ovid’s Metamorphoses. This collection explores ten notable mythological sculptures by Bernini and tackles to understand why Bernini was so intrigued by these myths and how he was able to communicate these myths through sculpture. Furthermore, on a broader scale, this collection will also explore the use of mythology in the Counter-Reformation period and its place in Baroque art. Contributor An entity responsible for making contributions to the resource Sofia Silvosa Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/ Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Date A point or period of time associated with an event in the lifecycle of the resource 1598-1680 Type The nature or genre of the resource Sculptures Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faun Teased by Children Description An account of the resource “A Faun Teased by Children” is one of Bernini’s earliest works. The artist completed this work in 1616 when he was about eighteen years old. Bernini completed this small yet masterful sculpture under the supervision of his father Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Wittkower, Rudolf. Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. London: The Phaidon Press, 1966. Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Publisher An entity responsible for making the resource available Met Museum Date A point or period of time associated with an event in the lifecycle of the resource 1616-1617 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Met Museum https://baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/Neptune_and_Triton/Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg 38e3e4b08cfe6e36ab2d70f57f0bb1f0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bernini's Mythological Sculptures Description An account of the resource Gian Lorenzo Bernini is considered to be one of the important artists from the Baroque period and is considered to be one of the most influential artists of all time. He was born in Naples in 1598 and from a young age was considered gifted in the arts. He was just eleven years old when his father, sculptor Pietro Bernini, brought him as a prodigy to Pope Paul V Borghese. His marble sculptures are his most celebrated works with groundbreaking biblical works like the “David” and “The Ecstacy of St. Theresa.” However, many of his most renowned sculptures, which encompass an earlier point in his career, include his mythological sculptures. Many of these sculptures depicted Green and Roman myths. During the baroque period, alongside several biblical works, we see a large number of mythological artworks– a continuity from the Renaissance period. Bernini’s works are no exception. His mythological sculptures are famous for their dynamic composition and emotional storytelling. Bernini was heavily inspired by many of the myths included in Ovid’s Metamorphoses. This collection explores ten notable mythological sculptures by Bernini and tackles to understand why Bernini was so intrigued by these myths and how he was able to communicate these myths through sculpture. Furthermore, on a broader scale, this collection will also explore the use of mythology in the Counter-Reformation period and its place in Baroque art. Contributor An entity responsible for making contributions to the resource Sofia Silvosa Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/ Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Date A point or period of time associated with an event in the lifecycle of the resource 1598-1680 Type The nature or genre of the resource Sculptures Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Neptune and Triton Subject The topic of the resource Bernini's mythological sculpture depicting Neptune and Triton after a deluge. Description An account of the resource The breathtaking “Neptune and Triton” was completed by Bernini in 1622-3. It was commissioned by Alessandro Damascenti-Peretti Montalto. The sculpture was intended to be the focal point of his large fish pond at his villa. The sculpture is a dynamic piece that portrays the powerful Neptune and Triton. Neptune stands, holding his trident. Below him, we see Triton who blows on his conch to communicate to the four corners of the world. The figures' bodies are curved and have a commanding presence that dominates the space. The muscular figures underscore these gods’ power as they’re taking control of the deadly seas. Bernini portrays their movement as highly energetic which is communicated by the twisting, opposing directions of the two muscular bodies. Neptune’s cloak swirls in a playful motion as well. Many scholars have even pointed out that the end of the cloak takes on the form of a dolphin. The work follows Ovid’s depiction of a Roman myth in which Jupiter vows to destroy life on Earth. He calls out Neptune to create a flood, leading him to strike the earth with his trident and release a deluge. After the flood, Neptune calls Triton to blow his conch as a signal for the seas to calm. The dolphin imagery in the sculpture also harks back to Ovid’s passage in which it states that dolphins were seen romping in the wood at the beginning of the deluge. Furthermore, this imagery of transforming cloak and flesh further underscores Bernini’s metamorphosis themes. The cloak in a way metamorphoses into a marine animal. Interestingly, it can’t be neglected that this deluge story alludes to the biblical story of the Great Flood. Again we see how many of Bernini’s mythological works connect in some way to the biblical themes he would explore in his later works. Creator An entity primarily responsible for making the resource Giovanni Lorenzo Bernini Source A related resource from which the described resource is derived Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/. Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Publisher An entity responsible for making the resource available Albert Museum Date A point or period of time associated with an event in the lifecycle of the resource 1622-23 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 182.2 cm Type The nature or genre of the resource Marble Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Victoria and Albert Museum of London https://baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/The_Rape_of_Proserpina/1200px-The_Rape_of_Proserpina_[Rome].jpg 101e37a52e4911387a54473692a4f0ff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bernini's Mythological Sculptures Description An account of the resource Gian Lorenzo Bernini is considered to be one of the important artists from the Baroque period and is considered to be one of the most influential artists of all time. He was born in Naples in 1598 and from a young age was considered gifted in the arts. He was just eleven years old when his father, sculptor Pietro Bernini, brought him as a prodigy to Pope Paul V Borghese. His marble sculptures are his most celebrated works with groundbreaking biblical works like the “David” and “The Ecstacy of St. Theresa.” However, many of his most renowned sculptures, which encompass an earlier point in his career, include his mythological sculptures. Many of these sculptures depicted Green and Roman myths. During the baroque period, alongside several biblical works, we see a large number of mythological artworks– a continuity from the Renaissance period. Bernini’s works are no exception. His mythological sculptures are famous for their dynamic composition and emotional storytelling. Bernini was heavily inspired by many of the myths included in Ovid’s Metamorphoses. This collection explores ten notable mythological sculptures by Bernini and tackles to understand why Bernini was so intrigued by these myths and how he was able to communicate these myths through sculpture. Furthermore, on a broader scale, this collection will also explore the use of mythology in the Counter-Reformation period and its place in Baroque art. Contributor An entity responsible for making contributions to the resource Sofia Silvosa Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/ Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Date A point or period of time associated with an event in the lifecycle of the resource 1598-1680 Type The nature or genre of the resource Sculptures Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Rape of Proserpina Subject The topic of the resource Bernini's mythological sculpture that depicts the Roman myth of Pluto and Proserpina. Description An account of the resource Bernini’s “The Rape of Prosperina” marble sculpture portrays the abduction of Proserpina, also known as Persephone, who is seized by the god of the underworld Pluto. The work was commissioned by Cardinal Scipione Borghese for his four large-scale sculpture commissions which also included “Apollo and Daphne” and “David.” The sculpture was originally going to be placed in the Villa Borghese. However, Cardinal Scipione Borghese notably decided to gift this sculpture to Cardinal Ludovico Ludovisi as a tribute to his enemy. Many scholars have thus noted that this was a “poisoned gift” of sorts. The chosen subject matter plays with Ludovisi’s central symbols; the sculpture’s themes counter Ludovisi’s so-called golden age rule; the sculpture by contrast announces the beginning of a bleak age. Here, we see again that Bernini bases his work on Ovid’s illustration of the Greek myth. According to the myth, Persephone was once picking flowers with friends and was then violently attacked by Pluto who was madly in love with her. Persephone is depicted afraid, screaming for help and raising her arm against Pluto’s face. Through his impeccable skill with marble, Bernini makes her seem almost weightless as she’s being carried away by Pluto. The tactile depictions of the sculpture are truly remarkable; you can see Pluto’s aggressive mannerism, grabbing her skin. Bernini does, however, skew away a bit from Ovid’s scriptures in this piece. Bernini adds a third member to the sculpture: Cerberus, the multi-headed dog of Pluto that guards the underworld. The creature sits at the bottom of the composition, portraying the threshold of the underworld. Overall, Bernini still captures Ovid’s mythological themes of metamorphosis. This sculpture, after all, is an allegory of the changing of the seasons and the transformation of the changing climate. Furthermore, the story illustrates the transformation of Persephone as a woman who must now live two lives– one in the underworld for half the year and the other back at home. The sculpture also portrays the baroque theme of memento mori and the ancient theme of death and resurrection. Many scholars argue that this story parallels Christian themes of death and mortality; it could also communicate the tragedy of lust. Here, we see a connection between Christianity and mythology which could further illuminate why we continue to see mythological artworks during the time of the Catholic Reformation. Greek and Roman stories can be used to communicate Christian messages as shown by this work by Bernini. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Publisher An entity responsible for making the resource available Wikemedia Contributor An entity responsible for making contributions to the resource 1621-1622 Format The file format, physical medium, or dimensions of the resource 225 cm Type The nature or genre of the resource Marble sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Borghese Gallery and Museum https://baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/Apollo_and_Daphne/gian_lorenzo_bernini-apollo_and_daphne-1655-trivium-art-history.jpg eb53d09ca8bab0b8369ae5f04bfc3048 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bernini's Mythological Sculptures Description An account of the resource Gian Lorenzo Bernini is considered to be one of the important artists from the Baroque period and is considered to be one of the most influential artists of all time. He was born in Naples in 1598 and from a young age was considered gifted in the arts. He was just eleven years old when his father, sculptor Pietro Bernini, brought him as a prodigy to Pope Paul V Borghese. His marble sculptures are his most celebrated works with groundbreaking biblical works like the “David” and “The Ecstacy of St. Theresa.” However, many of his most renowned sculptures, which encompass an earlier point in his career, include his mythological sculptures. Many of these sculptures depicted Green and Roman myths. During the baroque period, alongside several biblical works, we see a large number of mythological artworks– a continuity from the Renaissance period. Bernini’s works are no exception. His mythological sculptures are famous for their dynamic composition and emotional storytelling. Bernini was heavily inspired by many of the myths included in Ovid’s Metamorphoses. This collection explores ten notable mythological sculptures by Bernini and tackles to understand why Bernini was so intrigued by these myths and how he was able to communicate these myths through sculpture. Furthermore, on a broader scale, this collection will also explore the use of mythology in the Counter-Reformation period and its place in Baroque art. Contributor An entity responsible for making contributions to the resource Sofia Silvosa Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/ Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Date A point or period of time associated with an event in the lifecycle of the resource 1598-1680 Type The nature or genre of the resource Sculptures Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Apollo and Daphne Subject The topic of the resource Bernini's marble "Apollo and Daphne" sculpture. The work portrays the Greek myth of Daphne's transformation into a tree as Apollo runs toward her. Description An account of the resource Bernini’s life-sized marble sculpture of “Apollo and Daphne” is regarded as one of his most powerful and emotional works. The work was commissioned in 1622 by Cardinal Scipione Borghese and was initially placed in his villa. The work illustrates the Greek myth of the nymph Daphne and her passionate admirer Apollo. According to the myth, Eros (Cupid) launched two arrows against Apollo, making him ardently in love with Daphne, the daughter of the river god Peneus. At every turn, he attempted to pursue her and she would run away from him every time She begged her father to help her. Peneus thus decided to turn into a laurel tree to save her from Apollo. In Berni’s rendition of the myth, we see Apollo reaching for her as she transforms into the tree. Bernini closely follows Ovid’s Metamorphoses verses on the Greek Myth. Bernini was known to be captivated by Ovidian themes and would always attempt to explore these themes in his artworks. Apollo and Daphne capture the Ovidian theme of the metamorphosis. This is seen with the metamorphosis of Daphne as she transforms into a laurel tree. Bernini captures this metamorphosis as it’s happening with her fingers and toes narrowing into branches and her curls turning into leaves. Apollo touches the emerging bark as he runs towards her during her transformation. We also witness the transformation of both characters’ emotional states. Apollo is caught between joy and confusion and he first becomes gleeful seeing his lover and then becomes bewildered when he grabs her and touches the bark growing on her. Daphne is shown in a frightened state as illustrated by her open-mouthed scream; however, she will soon emerge as a mute, calm tree, reaching her fully realized form. Furthermore, we can see in this piece that Bernini closely followed Ovid’s scriptures of the myth. Ovid in his work dictates that “ the wind-exposed her body, the opposing breezes made her clothes move, and a light breeze made her hair fly behind her…her hair was changed to leaves, her arms to branches.” Bernini beautifully makes Ovid’s poetry come alive through marble. The powerful breeze is illustrated through Apollo’s garment waving in the wind and Daphne’s transforming hair blown by the breeze. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Publisher An entity responsible for making the resource available Joy of Museums Virtual Tours Date A point or period of time associated with an event in the lifecycle of the resource 1622-25 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Type The nature or genre of the resource Marble sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese in Rome Format The file format, physical medium, or dimensions of the resource 243 cm