https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Apollo_and_Daphne/Apollo_and_Dephne.jpg 32ca54e728f3037edea4666cbfff2d70 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Apollo and Daphne Description An account of the resource 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 Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived "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 Publisher An entity responsible for making the resource available Cardinal Scipione Borghese New York: Bridgeman Images Date A point or period of time associated with an event in the lifecycle of the resource 1622-25 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Copyright@ 2004 Bridgeman. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Marble, 243cm Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy