Maybe Bernini was trying to show their deep sorrow over losing everything. I saw the faces of people who lost everything in Katrina or the tsunami. Great work, especially considering he was so young. He shows great restraint in this one compared to his David. This is a great work and beautifully argued swallows. The question of the lack of anxiety or any discernable expression on the faces begs the need to re examine other works by him and others.
I wonder only sometimes if expression on faces reduces the aesthetic value or even cheapens the work. If you were to do this subject what expressions would you give them? Bernini has Anchises wear that funny cap too. Do you think that is the real color Rafael painted him? So ugly yellow? Bill: There are few people living today who could carve this figure in marble. It is a miracle that those figures are still intact. Some would say such detail is a mistreatment of the stone. At that moment they were running for their lives.
I agree that a grimace or otherwise contorted face such as Bernini made in his David or in an early study of a grin would have banalized the work. But there are two faces here and neither of them says much, which is a pity. The faces may be impassive; I read them as stoic. When I saw this piece at the Borghese I was overcome with pity for the old man.
Thank you for the enlightening history lesson. While there I was taken with how he used hands as focal points. Hands convey emotion, too. Bernini was brilliant with those details. Zeladoniac: I guess you are right—that those faces were meant to show stoic resignation. And I will pay more attention to the hands now.
Andre Cidade: Shameful? You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account.
Notify me of new comments via email. Notify me of new posts via email. This site uses Akismet to reduce spam. Learn how your comment data is processed. The Best Artists. Skip to content. What is this? Who is that burly guy and why is he carrying an old man? This life-sized group represents three generations of the Aeneas family. In the figures of the father, son and grandson there is an obvious reference to the topic, which is often painted, of the three ages of man.
Art historians discussed this question from the end of the 19th century to the midth century, until an archive document which prooves the work of Gian Lorenzo Bernini was found. The sculptural group is made of white marble. As architect and city planner, he designed secular buildings, churches, chapels, and public squares, as well as massive works combining both architecture and sculpture, especially elaborate public fountains and funerary monuments and a whole series of temporary structures in stucco and wood for funerals and festivals.
The famous Trojan War provides the historical context for the sculpture. As the Trojans were sleeping, the Greek warriors came out of hiding and ransacked the city, ultimately bringing Troy to her fall. As is the case with many works of Bernini, this sculpture is fashioned to tell a narrative. The narrative of Aeneas, Anchises, and Ascanius starts at the base with Ascanius and works in an upward spiral towards Anchises.
This quote from The Aeneid sets the stage for the narrative that the sculpture intends to evoke:. I will carry you on my back. This labor of love. Whatever falls to us now,. Little Iulus [Ascanius], walk beside me…. And you, my father, carry. I, just back from the war and fresh from slaughter,. In rescuing Anchises and Ascanius during his flight from Troy, Aeneas demonstrated filial love for both his father and son. Despite spears flying in his path, Aeneas continued on to the path of safety.
His devotion to his father and to the gods represented his respect for traditional Roman values and displayed a sense of pietas. In the sculpture Ascanius is carrying the eternal flame of Troy. Anchises is carrying the household gods. Each of these are symbolic: the eternal flame represents the future of Rome which Aeneas would later found, and the household gods represent the traditions of their forefathers.
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