Description
Apollo and Daphne Bonded Marble Statue. By Gian Lorenzo Bernini (1598-1680), 1622, Galleria Borghese, Rome. The tale of Apollo and Daphne is as complex as the artistic skill needed to capture the refined sense of movement and form found in this dramatic sculpt. Cast in bonded natural marble, our museum-quality replica portrays love-struck Apollo’s relentless pursuit of the unwilling Daphne, each having been struck by one of vengeful Eros’ enchanted arrows, moments before the gods answered the maiden’s desperate cry for help by turning her into a laurel tree. Conveying the same sense of pride, spite and unrequited love as Bernini’s original, this work is a stunning addition to any serious collection! See alternate views for set details. Gian Lorenzo Bernini (1598-1680) Preeminent Baroque sculptor Gain Lorenzo Bernini lived in 17th century Rome. Bernini s Baroque style was a powerful influence on the architecture of his time. In addition to his sculptures, Bernini s works include the colonnades of St. Peter s, the faade of Barberini s palace, and the design for three churches. The son of Florentine sculptor, Bernini was considered a prodigy in his time. Mastering sculpting techniques of marble while still a child, many thought that the young Bernini would surpass his father s greatness. Antique Greek and Roman statues in the Vatican inspired early Bernini sculptures. Bernini s many sculptural masterpieces include The Rape of Proserpina, which displays extreme attention to detail; even the woman s marble skin shows dimpling. Apollo and Daphne, widely admired since Bernini s day, expresses drama and also a conceit: As the character Daphne is being turned into a tree, the sculpture antithetically appears to come to life. Bernini was also an accomplished architect, having been commissioned to create the piazza, colonnades and high alter of St. Peter s Basilica in Rome, it s centerpiece being the Dove of Peace. Being a fervent Romantic Catholic who attended daily mass, Bernini s devotion to Rome shaped his work, then and always. Thus, Bernini s sculptures were conscious attempts to be emotional stimuli, pointing towards piety.
