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Sculpture and Movement |
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written
by nmdaybaz / 10.24.2005 |
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| Sculpture and movement |
1 of 1 |
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Assignment |
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One cannot merely observe Bernini’s sculptures passively. To remain in one position is an impossibility if one is to experience the true meaning of the work. Bernini has designed the sculptures specifically in a narrative form that requires the viewer to move around the statue in a 180 degree viewing range. With the approach carefully arranged by the placement of the sculpture in the room, Bernini ensures that the tale will unfold as the viewer walks around the work. Bernini’s Pluto and Persephone tells the story of the abduction of a maiden by a god, and her kidnapping to the underworld. As one approaches this statue, they are faced with only the view of the figure of the massive god. Then as the viewer continues around the sculpture- curiosity provoked by the minimal subject visibility from the initial view, Persephone’s figure comes into view. At this point the viewer is hooked into the story. Held in the grasp of Pluto, the maiden pushes against his face, distorting his triumphant expression. The severity of the situation is not yet apparent until one continues to walk around the statues to Persephone’s side. From this angle, one can see the tears on her cheek and Pluto’s fingers pressed into her flesh. Her cry is one of terror and she lifts her feet from the now discernible three heads of Cerebus, biting at her feet. Completing the walk around the statue, the beast is fully visible, signaling the gates to Hades which he guards, and to where Persephone is destined. Bernini has skillfully planned the design of the sculpture and its approach to reveal the narrative in a specific order. This allows the viewer to be involved in the story instead of just seeing the entire tale at once.
Canova uses the intimacy in both the subject of his sculpture and its lighting to connect the viewer to his work. Reclining topless on a mattress, the Pauline Bonaparte is poised, as if fully aware of her idealized beauty. With no hint of modesty in her expression she holds an apple in her left hand, symbolically proclaiming her Venus, the most beautiful goddess. Approaching the figure, one might feel as if they accidentally stepped in to the woman’s bedroom, as she is shown in such a vulnerable and intimate position. This would be further reinforced by the intended lighting of one single candle. With limited illumination, the sculpture would have seemed to be very private. The soft glow would have delicately lit her features and required the viewer to approach the voluptuous woman closer to fully appreciate every detail. Positioned below eye level, the viewer would also be required to increase the physical intimacy with the sculpture by kneeling down in front of her face, in order to see her eye to eye. It is this point, once the contact is made between the eyes of the viewer and the carved eyes of the figure, that a connection is formed, and the story is told.
Both artists have employed certain techniques to create a relationship between the viewer and their sculpture. Bernini involves the viewer by requiring them to physically move around a parameter of the work to understand the narrative. Canova on the other hand, relies more on the subject matter of his sculpture to involve the viewer. The intimacy of the woman’s position and the sense of privacy created from the dim light requires the viewer to approach the statue closely in order to fully appreciate the work.
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