The Angel with Crown of Thorns by Gian Lorenzo Bernini - Case Study Example

Page of Contents Introduction …………………………………………… Page 3 Identity Information …………………………………………… 3 Description on initial observation …………………………… 3 Description based on research. …………………………… 4 Description based on design elements used …………………… 6 Intent and interpretation …………………………… 7 Art historical style. …………………………………… 7 Personal Assessment …………………………………… 9 List of Illustration Sources …………………………………… 10 References …………………………………………… 12 Analysis report of Bernini's Angel with Crown of Thorns Introduction. The Passions of the Christ have been represented in numerous ways and styles and in various times. The Angels of Passion located in Ponte Sant’Angelo are one of many. But the Angels of Passion are incomparable not only due to its historical and religious relevance in relation to the sculptures being commissioned by the papacy in the 1700s but also to its artistic contribution to a Roman community that is already overflowing with more artwork imaginable. The “Angel with Crown of Thorns” by Gian Lorenzo Bernini is a true manifest of a Baroque angel sculpture with its graceful depiction of the human body and the beauty of form depicted in the angel’s facial features and wings. Through its huge size and magnificent form, it became a grand architectural element together with the rest of the ten Angels of Passion in Ponte Sant’Angelo. A grand sentry looking over the people as they traverse the bridge to and from the Castle. Bernini’s “Angel with Crown of Thorns” at Ponte Sant’Angelo Identity information. Artist’s name: Gian Lorenzo Bernini Title: Angel with the Crown of Thorns Year of production: 1667-69 Medium: Marble Dimensions: over life-size Type: Religious Form: Sculpture Place of origin: Ponte Sant’Angelo Present location: Sant'Andrea della Fratte, Rome Purpose: as an architectural/decorative element; part of a set Description on initial observation. The sculpture depicts an angel represented as a young man with a crown of curly hair. His wings are quite huge and are partially spread out as if about to take flight. He is wearing a somewhat diaphanous material draped over his body exposing a good portion of his shoulders and his right leg. He is holding a crown of thorns and his arms are placed sideways towards the left side of his body at the level of his chest. The angel’s right leg is exposed up to mid thigh and is bent on the knee as if in a walking motion. His left foot, on the hand, is also exposed. His feet are parted slightly apart with an indistinguishable object of swirls in between his feet and beside his left feet. His eyes are looking upward and his mouth hangs open with a small “o”. Description based on research. The Ponte Sant’Angelo, also known as the Bridge of Angels, in Rome was decorated with ten marble sculptures of angels, or the Angels of Passion, as proposed by Italian sculptor Gian Lorenzo Bernini.1 He was commissioned by Pope Clement IX to create two out of the ten angel sculptures and the rest of the angel sculptures are believed to be made by Bernini’s students. The ten marble sculptures are to replace the 14 stucco sculptures of angels set up by Rafaella da Montelupo under Pope Paul III.2 The Ponte Sant’Angelo Left to right: Google Map of the Castle and Ponte Sant’Angelo, the aerial view of the Ponte Sant’Angelo, the Castle and Ponte Sant’Angelo. The ten marble sculptures of angels each hold a symbol of the Passion of the Christ. The ten angel sculptures are the “Angel with the Column” by Antonio Raggi, “Angel with the Whips” by Lazzaro Morelli, “Angel with the Crown of Thorns” by Gian Lorenzo Bernini, “Angel with the Sudarium or Veronica’s Veil” by Cosimo Fancelli, “Angel with the Garment and Dice” by Paolo Naldini, “Angel with the Nail” by Girolamo Lucenti, “Angel with the Cross” by Ercole Ferrata, “Angel with the Superscription I.N.R.I.” by Gian Lorenzo Bernini, “Angel with the Sponge” by Antonio Giorgetti, and the “Angel with the Lance” by Domenico Guidi.3 The Ten Angel Sculptures at Ponte Sant’Angelo Top left to right: “Angel with the Column,” “Angel with the Whips,” “Angel with the Crown of Thorns,” “Angel with the Sudarium,” and the “Angel with the Garment and Dice.” Bottom left to right: “Angel with the Nail,” “Angel with the Cross,” “Angel with the Superscription I.N.R.I.,” “Angel with the Sponge,” and the “Angel with the Lance.” Bernini started working on the “Angel Carrying the Crown of Thorns” and the “Angel with the Superscription I.N.R.I.” in 1667 and finished them in 1669. The “Angel Carrying the Crown of Thorns” seems to be partially executed by Gian Lorenzo’s son, Paolo Bernini, but the differences in style are hard to point out.4 Pope Clement IX liked the sculptures and wanted the originals for his own papal palace. He asked Bernini to create copies of the two sculptures. However, the two original sculptures remained in Bernini’s studio and in 1729 were donated by Bernini’s nephew to the church of Sant'Andrea della Fratte in Rome which happens to be located opposite Bernini’s own home.5 The copy on the bridge is believed to be the work of another Italian sculptor named Pietro Paolo Naldini, one of Bernini’s pupils.6 The “Angel Carrying the Crown of Thorns” depicts an angel represented by a young man. On his hands is a crown of thorns, a woven wreathe of thistles and branches of thorn plants placed on Jesus Christ’s head before his crucifixion. The crown of thorns, like the other symbols of Christ’s Passion, reminds mankind of the Roman soldiers' mockery of Jesus Christ and their ironic acknowledgement of His place as King of the Jews. The angel sculpture has an inscription that says: "In aerumna mea dum configitur spina" or in English, “the thorn is fastened upon me” which is taken from Psalm 31:4, Latin Vulgate.7 Its religious significance, according to Mark 15:17, is explained as Roman soldiers crowned Jesus with thorns before they crucified him.8 Description based on design elements used. The “Angel Carrying the Crown of Thorns” has beauty of form and line. Its realistic form truly resembles the human body dimensions, as well as actual body movements. In spite of its dimensions which are beyond the standard human size, the sculpture has great composition and its different parts are greatly proportional to one another. Based on the title of the sculpture itself, there are two centers of interest in the sculpture: the angel and the crown of thorns. The positioning of the crown of thorns on the left side of his body has placed the emphasis off center and yet also gives equal interest to the other parts of the sculpture. Adams (2004) has stated that “although the parts are not arranged symmetrically, there is equilibrium between them that produces an aesthetic result.”9 Some artists avoid emphasis on purpose for they want all parts of the work to be equally interesting,10 and it seems Bernini uses such techniques as well. The fabric draped over the angel’s body seems to cling to the body and its numerous folds and waves further attest to body movement. The pose of the angel is also in an asymmetrical, irregular curved line further enhancing the rhythmic movement of the body. Adams (2004) stated that “a wavy line is more graceful and, like a curve, more naturally associated with the outline of the human body.”11 Beauty of form and line can also been seen in the wings of the angel. The repetition of the similar shape of the feathers in the angel’s wings but in varying sizes gave variety and unity at the same time. The variation also denotes texture, movement, as well as, contrast of treatment. The facial features of the angel have also some design elements that portrays the message the sculpture wanted to impart. The different lines of the face from the upward look of the eyes to the “o” shape of the mouth impart the message of pain and suffering. There is a plea in the shape of the eyes and mouth, another symbolism to Christ’s suffering bearing the crown of thorns. Bernini’s “Angel with Crown of Thorns” at Sant'Andrea della Fratte Intent and interpretation. Since the sculpture is a symbolism of Christ’s suffering, the artist has given a good interpretation of it. As mentioned in the previous paragraph, the facial features of the angel with his eyes looking upward as if asking for salvation, and his mouth in an “o” shape as if pleading for mercy are good representations of Christ’s Passions. Study for the Angel with the Crown of Thorns by Gian Lorenzo Bernini in pen and ink on paper In addition, the positioning of the body in a graceful curve might not only suggest movement as mentioned earlier, but it might also represent the twisted agony Christ has suffered in the hands of the Roman soldiers who mocked him as the King of the Jews. In spite of the sculpture being made in human dimensions beyond the normal size, the “Angel Carrying the Crown of Thorns” is represented in a realistic style since the angel and the crown of thorns resemble their actual appearances.12 The body parts of the angel are proportional to the human body and the angel’s pose showcases real human movement. Even the folds of the fabric and the curl of the angel’s hair looks as if they are real. His facial features also depicted real human emotions of pain and suffering. Art historical style. Based on the timeline the “Angel Carrying the Crown of Thorns” is created, which is in the 17th century, the sculpture belonged to the Baroque style. Baroque style angels were often represented as young men, but this style evolved from earlier Baroque style in which angels are represented as boys or even in the period preceding Baroque, the Renaissance period, wherein angels are represented as naked children with features similar to the Roman god Cupid.13 As mentioned, the “Angel Carrying the Crown of Thorns” is one part of a set of ten marble sculptures of angels located at Ponte Sant’Angel. The “Angel with the Superscription I.N.R.I.” is also the work of Gian Lorenzo Bernini. Both sculptures have the same composition. Angels by Gian Lorenzo Bernini in S. Andrea delle Fratte Other works of art in the same period are the rest of the sculptures seen in the Ponte Sant’Angelo which were made by various Italian Baroque artists, who were believed to be Bernini’s pupils.14 Aside from the ten angel sculptures, other examples with a touch of Bernini’s style are the angel sculptures serving as an architectural element, particularly the transepts in the church of S. Maria del Popolo. They are made by Ercole Ferrata and Antonio Raggi, who were both Bernini's preferred associates.15 The Angel by Paolo Naldini in S. Marcello also shows similarity in style, which is not surprising for Paolo Naldini started his career at Bernini’s studio. The angel was shown holding the pulpit but also showed two modifications from Bernini’s works. Naldini’s angel is female and the material used is wood rather than marble.16 Left to right: Angels by Ercole Ferrata and Antonio Raggi in S. Maria del Popolo; Angel by Paolo Naldini in S. Marcello Much like the caryatids of the Ancient Greek style, the Baroque angels are used as an architectural element and more innovations arose during the first half of the 18th century wherein the angels became more effeminate and wore simpler yet more revealing clothing. Examples of such modifications were seen in the altar pieces in S. Ignazio made by Bernardino Ludovisi and Pietro Bracci.17  Left to right: Pairs of angels by Bernardino Ludovisi and Pietro Bracci in the transept of S. Ignazio Personal Assessment. Seeing the image of the sculpture has put into mind the different sculptures in history that have graced numerous architectural edifices and museums. The sculpture looks like the other voluptuous yet graceful angel sculptures which were half naked and yet held religious meanings or had been commissioned by religious personalities. Researching about the sculpture has put a different perspective and opened up a new appreciation of historical and religious pieces. Upon knowing the symbolism of the crown of thorns made one look further to other symbolisms prevalent, and maybe hidden, in the sculpture. Not only that, the sculpture also made one look for further symbolism in other works seeing that it is a part of a set of ten angel sculptures. Furthermore, it gives new meaning to art appreciation for it is not only aesthetically beautiful but it also serves a function as an architectural element to a civil structure and is adjacent to not just a castle but also to the home and seat of the highest rank in Catholicism. List of Illustration Sources (In order of appearance) Wikimedia. (2009). [Image of Bernini’s Angel with Crown Thorns]. Retrieved from http://upload.wikimedia.org/wikipedia/commons/0/00/BerniniAngel03.jpg Google Maps. (2009). [Map of the Ponte Sant’Angelo and surrounding areas]. Retrieved from http://maps.google.com/ Nicolas Janberg’s Structurae. (October 2007) [Image of the Ponte Sant’Angelo taken by Guillaume Pontignon] Retrieved from: http://en.structurae.de/photos/index.cfm?JS=155679 The Sorensen Homepage. [Image of the Ponte Sant’Angelo] Retrieved from: http://www.aerenlund.dk/rom/rome_day4.html Sequoia Consulting. (2007) [Image of Bernini’s Angel with Crown Thorns]. Retrieved from http://www.sagarmatha.com/images/2007-IT-ponte-sant-angelo0006.jpg Wikimedia. (2009). [Image of Bernini’s Angel with Crown Thorns]. Retrieved from http://commons.wikimedia.org/wiki/File:Ponte_santAngelo_-_angelo_della_Corona_(originale_a_santAndrea_delle_Fratte)_00599.JPG Rome-Roma (2009) [Image of the Angel with the Column]. Retrieved from http://www.rome-roma.net/ponte-sant-angelo.html Wikimedia. (2009). [Image of Angel with the Whips]. Retrieved from http://en.wikipedia.org/wiki/File:Angel_with_the_whips_on_Sant_Angelo_Bridge_01.jpg Wikimedia. (2009). [Image of Bernini’s Angel with Crown Thorns]. Retrieved from http://en.wikipedia.org/wiki/File:Angel_with_thorn_crown_on_Sant_Angelo_Bridge_01.jpg Flickr. (2009). [Image of Angel with the Sudarium]. Retrieved from http://www.flickr.com/photos/12775612@N00/2453132510 Wikimedia. (2009). [Image of Angel with the Garment and Dice]. Retrieved from http://upload.wikimedia.org/wikipedia/commons/f/f3/Angel_with_garment_and_dice_on_Sant_Angelo_Bridge_01.jpg Cottey College. (2009). [Image of Angel with the Nail]. Retrieved from http://www.cottey.edu/home/travel/images/09-rome-angel.jpg Rome-Roma (2009) [Image of Angel with the Cross]. Retrieved from http://www.rome-roma.net/ponte-sant-angelo.html Wikimedia. (2009). [Image of Angel with Superscription I.N.R.I .]. Retrieved from http://en.wikipedia.org/wiki/File:Angel_with_superscription_on_Sant_Angelo_Bridge_01.jpg Wikimedia. (2009). [Image of Angel with the Sponge]. Retrieved from http://en.wikipedia.org/wiki/File:Angel_with_sponge_on_Sant_Angelo_Bridge_01.jpg Rome-Roma (2009) [Image of Angel with the Lance]. Retrieved from http://www.rome-roma.net/ponte-sant-angelo.html Wikimedia. (2009). [Image of Bernini’s Angel with Crown Thorns]. Retrieved from http://en.wikipedia.org/wiki/File:Angel_with_Crown_of_Thorns_G.L._Bernini.JPG Web Gallery of Art. (2009). [Image of Bernini’s Angel with Crown Thorns]. Retrieved from http://www.wga.hu/frames-e.html?/html/b/bernini/gianlore/sculptur/1660/angel2.html Flickr. (2009). [Image of Bernini’s Angel with Crown Thorns]. Retrieved from http://www.flickr.com/photos/93226994@N00/95748893 Wikimedia. (2009). [Image of Bernini’s Angel with Crown Thorns]. Retrieved from http://upload.wikimedia.org/wikipedia/commons/0/00/BerniniAngel03.jpg Romeartlover (2005). [Image of Bernini’s two Angels]. Retrieved from http://www.romeartlover.it/Angels.html Victoria and Albert Museum. (2009). [Study for the Angel with the Crown of Thorns by Gian Lorenzo Bernini in pen and ink on paper]. Retrieved from http://www.vam.ac.uk/vastatic/microsites/terracottas/content.html Web Gallery of Art. (2009). [Image of Angel by Ercole Ferrata in S. Maria del Popolo]. Retrieved from http://www.wga.hu/frames-e.html?/html/b/bernini/gianlore/sculptur/1660/angel2.html Web Gallery of Art. (2009). [Image of Angel by Antonio Raggi in S. Maria del Popolo]. Retrieved from http://www.wga.hu/frames-e.html?/html/b/bernini/gianlore/sculptur/1660/angel2.html Web Gallery of Art. (2009). [Image of Angel by Paolo Naldini in S. Marcello]. Retrieved from http://www.wga.hu/frames-e.html?/html/b/bernini/gianlore/sculptur/1660/angel2.html Web Gallery of Art. (2009). [Image of Pairs of angels by Bernardino Ludovisi and Pietro Bracci in the transept of S. Ignazio]. Retrieved from http://www.wga.hu/frames-e.html?/html/b/bernini/gianlore/sculptur/1660/angel2.html References Printed Resources Adams, Laurie. (2004). A History of Western Art. USA: McGraw-Hill. Online Resources Bartel, Marvin. Composition and Design Elements, Principles, and Visual Effects. Retrieved from http://www.goshen.edu/art/ed/Compose.htm#principles Beliefnet. (2009). Angels of the Passion. Retrieved from http://www.beliefnet.com/features/bridgeofangels/index.html Nicolas Janberg’s Structurae. (2009). Ponte Sant’Angelo. Retrieved from http://en.structurae.de/structures/data/index.cfm?ID=s0000257 Preces-Latinae, (2009), Psalmus XXXI, Retrieved from http://www.preces-latinae.org/thesaurus/Psalmi/Psalmus31_SCV.html Romeartlover (2005). Baroque Angels. Retrieved from http://www.romeartlover.it/Angels.html Web Gallery of Art. (2009). Bernini, Gian Lorenzo. Retrieved from http://www.wga.hu/frames-e.html?/html/b/bernini/gianlore/sculptur/1660/angel2.html Read More