Apollo and Daphne
Dublin Core
Title
Apollo and Daphne
Description
Bernini was an Italian sculptor and architect in the seventeen century. In the mature period of his career, he was also keen on city designing and theater directing, designing all their technical and visual installations by himself. He was famous for creating stage sets in which hallucinations are very vivid.[1] This also explains the development of the characteristics of his sculpture art that is full of transformations and movements.
The art patron is Cardinal Scipione Borghese who commissioned a series of sculptures for 23-years-old Bernini. The series that the Apollo and Daphne belong to serves the decorative function for the Cardinal’s luxurious villa outside the Porta Poinciana. The city of Rome attracts many foreign visitors who are interested in its culture, and the art there is of great importance in attracting their attention. [2]Both Scipione and Bernini knew that the role of the villa is to attract viewers who come from foreign countries and have a well-educated background. And both the artist and the patron tried to establish their own outstanding status and distinction in the society of their fellows. [3]
The sculpture comes from the characters Apollo and Daphne in the mythology of classical literature. The source of inspiration for the artist also comes from "The Metamorphosis" by Ovid. Apollo was deliberately shot a golden arrow by Cupid, which made Apollo crazily pursue Daphne. But at the same time, Daphne was hit by an arrow of the opposite effect, rendering her to avoid any pursuit of love. When she was about to be caught, Daphne begged her father, the river god Peneus, to rescue her by breaking her beauty that causes all the trouble. She was then turned into a laurel tree in response. But that didn’t stop Apollo’s obsession and he toughly grabbed the leaves of the laurel tree, but then he soon found out Daphne was no more merciful than before even after transformation. [3]
The statue reveals its complexity when viewing from different angles. For example, from the left side perspective, the audience can perceive the complacent expression of Apollo and great fear in Daphne’s eyes.[1] However, in the exact front point of view, Daphne looks less scared and Apollo seems flustered and fatigue. Brilliantly, Bernini's sculpture depicts the transitional point exactly in terms of interaction and perception exchanges.
Daphne took root from her toes, and her legs were gradually wrapped in bark. The top of her head and arms were growing out lush branches. Bernini recorded the midway process of this transition and highlighted the twisted direction and fast speed of the branch growth. At the same time, the artist's expression technique also reflects the transformation idea. [3] He converted the hard and cold marble into different realistic materials, like changing the marble to the human skin and then changing it to a rough tree trunk. From the elasticity and softness of the skin to the lightness and fragility of the leaves, they were all created in rich details with a series of contrasts in texture.
[1]“Apollo and Daphne by Bernini in the Borghese Gallery.” Accessed November 19, 2020. https://borghese.gallery/collection/sculpture/apollo-and-daphne.html.
[2]Genevieve, Desiderio and Diletto, 309
[3]Andrea, Speaking Statues: Bernini’s ‘Apollo and Daphne’ at the Villa Borghese, 1
The art patron is Cardinal Scipione Borghese who commissioned a series of sculptures for 23-years-old Bernini. The series that the Apollo and Daphne belong to serves the decorative function for the Cardinal’s luxurious villa outside the Porta Poinciana. The city of Rome attracts many foreign visitors who are interested in its culture, and the art there is of great importance in attracting their attention. [2]Both Scipione and Bernini knew that the role of the villa is to attract viewers who come from foreign countries and have a well-educated background. And both the artist and the patron tried to establish their own outstanding status and distinction in the society of their fellows. [3]
The sculpture comes from the characters Apollo and Daphne in the mythology of classical literature. The source of inspiration for the artist also comes from "The Metamorphosis" by Ovid. Apollo was deliberately shot a golden arrow by Cupid, which made Apollo crazily pursue Daphne. But at the same time, Daphne was hit by an arrow of the opposite effect, rendering her to avoid any pursuit of love. When she was about to be caught, Daphne begged her father, the river god Peneus, to rescue her by breaking her beauty that causes all the trouble. She was then turned into a laurel tree in response. But that didn’t stop Apollo’s obsession and he toughly grabbed the leaves of the laurel tree, but then he soon found out Daphne was no more merciful than before even after transformation. [3]
The statue reveals its complexity when viewing from different angles. For example, from the left side perspective, the audience can perceive the complacent expression of Apollo and great fear in Daphne’s eyes.[1] However, in the exact front point of view, Daphne looks less scared and Apollo seems flustered and fatigue. Brilliantly, Bernini's sculpture depicts the transitional point exactly in terms of interaction and perception exchanges.
Daphne took root from her toes, and her legs were gradually wrapped in bark. The top of her head and arms were growing out lush branches. Bernini recorded the midway process of this transition and highlighted the twisted direction and fast speed of the branch growth. At the same time, the artist's expression technique also reflects the transformation idea. [3] He converted the hard and cold marble into different realistic materials, like changing the marble to the human skin and then changing it to a rough tree trunk. From the elasticity and softness of the skin to the lightness and fragility of the leaves, they were all created in rich details with a series of contrasts in texture.
[1]“Apollo and Daphne by Bernini in the Borghese Gallery.” Accessed November 19, 2020. https://borghese.gallery/collection/sculpture/apollo-and-daphne.html.
[2]Genevieve, Desiderio and Diletto, 309
[3]Andrea, Speaking Statues: Bernini’s ‘Apollo and Daphne’ at the Villa Borghese, 1
Creator
Gian Lorenzo Bernini
Source
"Apollo and Daphne by Bernini in the Borghese Gallery.” Accessed November 19, 2020. https://borghese.gallery/collection/sculpture/apollo-and-daphne.html.
Bolland, Andrea. "Desiderio and Diletto: "Vision, Touch, and the Poetics of Bernini's" Apollo and Daphne." The Art Bulletin 82, no. 2 (Jun 01, 2000): 309. https://doi.org/10.1111/j.0141-6790.2004.00428.x.
Warwick, Genevieve. “Speaking Statues: Bernini’s ‘Apollo and Daphne’ at the Villa Borghese.” Art History 27, no. 3 (June 2004): IV-381. doi:10.1111/j.0141-6790.2004.00428.x.
Image Source: Apollo and Daphne, 1622-25. New York: Bridgeman Images, 2004.https://search-proquest.com.proxy.lib.duke.edu/docview/1974054439/citation/CC2D375E9B6C4E84PQ/1?accountid=10598
Bolland, Andrea. "Desiderio and Diletto: "Vision, Touch, and the Poetics of Bernini's" Apollo and Daphne." The Art Bulletin 82, no. 2 (Jun 01, 2000): 309. https://doi.org/10.1111/j.0141-6790.2004.00428.x.
Warwick, Genevieve. “Speaking Statues: Bernini’s ‘Apollo and Daphne’ at the Villa Borghese.” Art History 27, no. 3 (June 2004): IV-381. doi:10.1111/j.0141-6790.2004.00428.x.
Image Source: Apollo and Daphne, 1622-25. New York: Bridgeman Images, 2004.https://search-proquest.com.proxy.lib.duke.edu/docview/1974054439/citation/CC2D375E9B6C4E84PQ/1?accountid=10598
Publisher
Cardinal Scipione Borghese
New York: Bridgeman Images
New York: Bridgeman Images
Date
1622-25
Contributor
Liuren Yin
Rights
Copyright@ 2004 Bridgeman. All Rights Reserved.
Format
Marble, 243cm
Type
Sculpture
Coverage
Galleria Borghese, Rome, Italy
Citation
Gian Lorenzo Bernini, “Apollo and Daphne,” ARTHIST 89S - Visual Culture of Venice - Fall 2020, accessed October 22, 2026, https://venice.dahvc.org/fall-2020/items/show/198.