|
|
 |
|
The Ecstasies |
|
written
by nmdaybaz / 10.24.2005 |
|
|
|
|
|
| The Ecstasy of Beata Ludovica Albertoni |
1 of 1 |
|
| |
Assignment |
| |
As I turned into the side chapel and my gaze fell upon Bernini’s Ecstasy of Beata Ludovica Albertoni, my eyes were immediately drawn to the sculpture’s face. It was illuminated by a hidden window in the left side of the niche and I stood transfixed by the powerful expression on her face. The light made the marble gently glow, her head thrown back on the pillow and mouth slightly agape. Focusing on her face, I felt that her emotion was the central point that Bernini was trying to convey. With the sculpture settled in a dimly lit alcove, it is only possible to view her from the front, and the only source of light is obscured. Following the length of the figure, my eyes next fell upon her right hand, clutching her chest. The light illuminated this as well, further heightening the emotion displayed in her face. In continuing with the theme of following the subjects of the windows illumination, I next focused on her knees. Drawn up to her chest, they protruded enough to catch the light and attract my attention. Concluding my study of the sculpture were her flexed feet, summarizing the ecstatic tension of the figure. The many folds in the robes of the figure created a delightful arrangement of shadows, adding contrast to the highlighted portions of the sculpture and enhancing them as a focal point. Bernini’s hidden window skillfully illuminated the sculpture in such a manner which directed my focus along the figure to three distinct points.
These three points showed an evolution of emotion. First the expression in her face, which is most identifiable conveyer of emotion, making the first statement of her passionate ecstasy. The following two points seem like supporting evidence. Her hand clutching at her breast followed by her drawn up knees and flexed feet show her body completely entranced by her ecstasy. While viewing the statue, one can almost feel the tension surging throughout the figure.
After finally seeing Bernini’s second ecstasy sculpture, the Ecstasy of Saint Theresa, I have finally made up my mind as to his intentionality behind the sculptures. Everyone seems to be up in arms that Bernini has sculpted these two women, nuns who have pledged their life to God and been so faithful that they are now considered saints, in orgasmic pleasure. Then to add insult to injury, they are placed in the sanctuaries of Roman Catholic churches. I don’t think that Bernini was trying to convey pornographic images in the guise of religious figures. I think a lot of that interpretation has to do with our culture today, and its focus on sex and sexuality. One’s understanding of something they are observing is greatly influenced by the environment in which they have lived. I think that back when Bernini created these two sculptures, those viewing them probably did not think about how raunchy it was for these religious figures to be portrayed in such sexual bliss, but yet saw them in a different light. I feel that Bernini was trying to convey that every aspect of life’s pleasures can be attained through a relationship with God. One of the downsides people may have found, and still find, to fully dedicating one’s life to God- in becoming a nun or priest- is giving up some of their earthly pleasures, one being sex. In his sculptures, Bernini shows that nothing is lost in one’s full commitment to God, but that all pleasures can be still experienced with Him. It’s hard to shake today’s minds of seeing that in a pornographic sense, but I think that to those people to whom the message was intended saw what Bernini was trying to convey. The Church too sees Bernini’s message, and that it is not one of advertising sexual pleasure, or I doubt it would still remain in the churches today.
|
| |
|
| |
|
|
|
|
