apollo and daphne
2107. Supported devices: iPhone 6S+ & iPad 5+ on iOS 12+ and Android 8.0+ with ARCore 1.9 support Again, even though it is not strictly a Christian message, this sculpture still carries with it the cultural influence of the Counter-Reformation. Model is too heavy for your device and can not be rendered properly. As soon as Apollo is able to lay his hand on Daphne, she turns into a tree. We see the longing in Apollo’s eyes and the look of shock on Daphne’s face, but the very touch of Apollo’s hand on Daphne’s now-bark flesh tells the story. The Louvre is now open. Instantly, Apollo falls in love with Daphne, but she finds the idea of loving anybody totally gross. Denon wing 1st floor Tiepolo Room 725. Inventory. This statue portrays the futile romance between Apollo and Daphne; Apollo is deeply in love with Daphne, a woman who abhors Apollo’s advances. He fell in love with her not by accident, but by the fury of Cupid. Bernini portrays this moment at the height of the action; Apollo has just touched Daphne’s torso, and she is transforming into a tree. sculpture. Each statue was placed in the center of one of the ornamental ponds in the park at Marly, around 1713-14.
The work represents the crucial moment of Daphne‘s metamorphosis into a laurel tree. Open this page with such a device to experience AR. This sculpture was commissioned by Cardinal Borghese of the Catholic Church and is still located in the Galleria Borghese—the room for which it was commissioned—in Rome, Italy.
The viewer may see the look of longing on Apollo’s face and feel for the man who has lost his love. mail. Period '600. This common Baroque trait gets the viewer involved in the experience and forces them to examine the story from multiple angles; the viewer becomes a part of the dynamism inherent in the sculpture. Image Credit: Justin Wisniewski. This dynamic representation of a moment, which elucidates an entire story, is a technique masterfully utilized throughout the Baroque.7, “Apollo and Daphne” (rear view). Tel. The look of longing on Apollo’s face is still apparent, both of them appear to still be moving, as if in mid-chase, and the transformative depiction of Daphne signals the tragic end of the tale. This snapshot is able to tell the entire story. This touch reveals the futility of Apollo’s desire, as well as the violence with which he pursued Daphne. After a run, Apollo has reached his beloved, whose feet have already become roots and hands and hair a single leafy branch; he attempts to grab her, but his fingers graze not her body, but the bark of the tree. Apollo and Daphne. So ran the god and girl, one swift in hope, The other in terror, but he run more swiftly, Born on the wings of love, gave her no rest, Shadowed her shoulder, breathed on her streaming hair. “Apollo and Daphne” (detail). On the other hand, the viewer could move further around the piece and see the look of surprise and anguish on Daphne’s face that indicates this tale is not one of lost love, but rather unwanted advances and unfortunate consequences. Bernini created a theatrical staging in which the viewer’s eye follows the development of the transformation. c. 1743-44. ga-bor@beniculturali.it. John William Waterhouse: Apollo and Daphne - 1908 » View Larger Scan » Send as Postcard » Create As Calendar » Purchase Oil Reproduction. Apollo was very proud about killing a dragon when he noticed Cupid with his bow. The sculpture group of Daphne (by Guillaume I Coustou) and Apollo (by Nicolas Coustou) illustrates a passage from Ovid's Metamorphoses, in which the nymph Daphne is chased by the sun god and transformed into a laurel tree in order to escape him. is too old to display models in AR.
Update your device or try on another device. Technique. All visitors are required to wear a mask in the museum. CV. Image Credit: Kenny Mencher. Javascript is not enabled on your browser.
Learn more here: http://www.galleriaborghese.it/, Gian Lorenzo Bernini's Works Through the Lens of the Counter-Reformation. Bernini Gian Lorenzo(Naples 1598 - Rome 1680), Collection of Cardinal Scipione Borghese (1617). Paintings. From that moment laurel was to become dear to the god – who would tie it around his head – and be considered an attribute of artists and poets. This touch reveals the futility of Apollo’s desire, as well as the violence with which he pursued Daphne. Your version of Bernini Gian Lorenzo (Naples 1598 - Rome 1680) Type. We see the longing in Apollo’s eyes and the look of shock on Daphne’s face, but the very touch of Apollo’s hand on Daphne’s now-bark flesh tells the story. Please check out our FAQ to learn how to fix this issue. Location. Apollo and Daphne Gian Lorenzo Bernini 1622-1625 Galleria Borghese, Rome - Apollo and Daphne - 3D model by egiptologo91 (@egiptologo91) [28f019b] Piazzale Scipione Borghese 5, Room 3 – Apollo and Daphne Room . The serpentine contortions of Apollo and Daphne’s bodies serve to further express the movement in the sculpture, while also leading the viewer around the sculpture to view the scene from every angle. Scan this code to open the model on your device, then, tap on the AR icon. Like The Rape of Proserpina, Apollo and Daphne depicts a mythological scene outside of Christian tradition.
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