... in the Gerhard-Marcks-Haus in Bremen. Daphne - Myth and Metamorphosis called the exhibition. Unfortunately, denied the homepage of the museum further information about exhibition objects and backgrounds shame, actually - but me is first a Bernini's Apollo and Daphne . I once made ready for you multiple views - first, because it is absolutely necessary for this work, and secondly, because I was always excited when a sculpture is presented only single view, where she is three dimensional.
I guess that the exhibition in the Ovid's metamorphosis refers, in his third book of the story of Apollo and Daphne says:
in a dispute with the Cupid (the little clever boy with bow and arrow) to the accuracy of their arrows, must back off the victory secure Apollo - he is struck by Cupid inflamed hopelessly in love with the beautiful Daphne, which he then followed. This, however, spurned his courtship because Cupid has missed her an anti-love arrow and flees from Apollo hugs. When the god catches Daphne after a bittersweet pursuit hunting, she is transformed at her request from the Father (God Peneius flow) into a laurel tree (Greek daphne).
I must go back a little in this regard because I am fascinated by Bernini's sculpture, as it the entire metamorphosis realized in his work. Therefore, I have hung several range views, but not sufficient to understand the whole transformation. After considering the sculpture in the original, you start with the rear view, in which one of Daphne was little more looks than their cloth - the more walking around is Daphne increasingly visible, at first in female-physical form - the further progression will becoming a laurel tree - the metamorphosis takes place with the walk around the viewer.
Also this phenomenon can be read backwards, if one takes the walk around in the opposite direction - you will understand it as an allegory on the art of sculpture, if it looks like as Apollo made the laurel tree, the nymph Daphne would "work out".
... but emphatic end to my digression and return to the real issue: not only Bernini edited this topic - from there we can be curious how his contemporaries (like this time I go out) have dealt with the issue.
I guess that the exhibition in the Ovid's metamorphosis refers, in his third book of the story of Apollo and Daphne says:
in a dispute with the Cupid (the little clever boy with bow and arrow) to the accuracy of their arrows, must back off the victory secure Apollo - he is struck by Cupid inflamed hopelessly in love with the beautiful Daphne, which he then followed. This, however, spurned his courtship because Cupid has missed her an anti-love arrow and flees from Apollo hugs. When the god catches Daphne after a bittersweet pursuit hunting, she is transformed at her request from the Father (God Peneius flow) into a laurel tree (Greek daphne).
I must go back a little in this regard because I am fascinated by Bernini's sculpture, as it the entire metamorphosis realized in his work. Therefore, I have hung several range views, but not sufficient to understand the whole transformation. After considering the sculpture in the original, you start with the rear view, in which one of Daphne was little more looks than their cloth - the more walking around is Daphne increasingly visible, at first in female-physical form - the further progression will becoming a laurel tree - the metamorphosis takes place with the walk around the viewer.
Also this phenomenon can be read backwards, if one takes the walk around in the opposite direction - you will understand it as an allegory on the art of sculpture, if it looks like as Apollo made the laurel tree, the nymph Daphne would "work out".
... but emphatic end to my digression and return to the real issue: not only Bernini edited this topic - from there we can be curious how his contemporaries (like this time I go out) have dealt with the issue.
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