Sunday, September 23, 2007

Canova, Bernini, and Movement: Writing Assignment 17

Sculptures at the time of Bernini carried the very Baroque characteristic of incorporating the viewer into the art, an interaction that was not used prior. Viewed only under one candle, Canova’s Pauline Bonaparte would most likely be placed somewhere in a room such that the typical approach by the viewer is at an angle, possibly even behind the sculpture, as was set up in the Borghese museum. The one candle would undoubtedly be somewhere on the front side, creating very dramatic shadowing from the initial viewing angle. Certain features would be unclear from your distance, drawing you closer to clear up your mind’s confusion. It is clear that there is a woman reclined on a bed, but at such soft of light, all you can wonder is why.

In the museum, the marble form is initially seen from behind; it appears to be a woman, but to find out for sure, you walk around towards the front. As the facial features take shape, you see that she is holding something in her hand, and continue circling to find out what it is as well as what emotion is taking hold of this figure. Upon circling more, defined breasts and an ideal woman form prove your initial thoughts, and you see the perfectly content and comfortable look on her face, imagining how soft that marble must be. Unfortunately, in a well lit museum these questions and answers seem to be very immediate, since things are not very hidden from view.

Instead, with one source of light, approaching from behind would create a much more dramatic experience, creating a reclining silhouette that may even look human at first glance. Perhaps you would travel the same direction around, but much slower, as the harsh shadows flicker with the candlelight, revealing bits of white marble. The same questions would be asked – what is she doing here; what is she thinking – but it would be dramatically drawn out as inspection would be much more of an involved process. Simple fold lines in marble fabric become intensely Baroque in candlelight.

We as viewers become engaged in sculpture, or any form of art for that matter, as soon as we begin asking questions. In the case of Bernini’s sculpture in Villa Borghese, the original viewing angles created a scene that would leave the viewer confused or aching for more. These characteristics distinguish free standing sculptures from artwork meant strictly for niches. Yet Bernini and Canova take their stories in different directions: Canova shows calm, static scenes where attention is drawn towards the intense detail, while Bernini displays full scenes of very baroque action. Attention is instead drawn to the incredible movement portrayed in marble. As a result, the stories the artists include with their pieces are much different; Bernini’s often tell a familiar story with no need for text reference, while Canova seems to create more of a biographical story – be it about himself or his subject.

Whether it is Bernini or Canova, the spectator constantly wants to know the story – both of what the piece is about, and also why the work was created. These stories, though parallel or separate, draw viewers in the exact moment that attempts are made to answer the questions we wish we could ask the artist himself.

No comments: