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Christianize this |
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written
by jwang3 / 10.24.2005 |
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| The Ecstasy of Beata Ludovica Albertoni |
1 of 1 |
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Assignment |
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Upon my first glance of Bernini’s “The Ecstasy of Beata Ludovica Albertoni,” my eyes immediately fell upon the part of the sculpture most illuminated by the light – her face. Her expression can only be described by a word that seems taboo, given the sculpture’s religious placement. Regardless, the “orgiastic” look on her face made me feel indecent, almost as if I were peeking at a forbidden magazine. From Beata’s face, my eyes followed the light toward her right hand, grasping her breast. As if this were not X-rated enough, I then observed her legs, tangled in the winding sheets.
The sculpture by itself could act as a prop from an adult film. Beata’s open-jawed expression, the force at which her head is thrown back against the pillow, and the placement and actions of her hands and feet all point to a woman experiencing sensual bliss. Oddly enough, the sculpture is flanked on both sides by portraits depicting baby Jesus and female saints. These additions to Bernini’s sculpture seem to be yet another attempt at Christianizing art. The cherubs and paintings, added after Bernini’s completion, look out of place. Even the church itself seems out of place, for the statue can hardly be called Christian.
Similarly, it would be ludicrous to label Bernini’s “The Ecstasy of Saint Theresa” as Christian; it is pornographic in and of itself. Theresa, mounted by an angel-child, lies powerlessly against a rock. Her left hand and leg hang limply from the edge of her seat, and her head, bearing the same expression as Beata, is cocked to one side. The angel tugs playfully on her garment and looks down mischievously, holding an arrow aimed toward her. In this sculpture, Bernini has portrayed Theresa in the moment before sexual penetration. Her orgiastic state of euphoria is apparent not only by the look on her face, but also by her physical position. She is thrown back in a state of pleasure and vulnerability. The angel, in contrast, is positioned above in complete control, holding the object of penetration. Although the angel looks at Theresa’s face, the arrow is pointed to her pelvic region, confirming the inherent sexual message behind the sculpture. Like “The Ecstasy of Beata Ludovica Albertoni,” however, the sculpture is surrounded with items attempting to Christianize its message, appearing similarly out of place. The rays of light seemingly coming from heaven look artificial and the location of the sculpture near the front of the church serves only to allow more room for photographs to be taken. Both works of art have become tools used for church propaganda.
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