Sculpture Apollo and Dafne Italian White Alabaster 19th Century after Bernini

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Sculpture Apollo and Dafne Italian White Alabaster 19th Century after Bernini

About the Item

The sculpture was the last of a number of artworks commissioned by Cardinal Scipione Borghese, early on in Bernini's career. Apollo and Daphne was commissioned after Borghese had given an earlier work of his patronage, Bernini's Pluto and Persephone, to Cardinal Ludovico Ludovisi. Much of the early work was done in 1622–1623, but a pause, quite possibly to work on the sculpture of David, interrupted its completion, and Bernini did not finish the work until 1625. Indeed, the sculpture itself was not moved to the Cardinal's Villa Borghese until September 1625. Bernini did not execute the sculpture by himself; he had significant help from a member of his workshop, Giuliano Finelli, who undertook the sculpture of the details that show Daphne's conversion from human to tree, such as the bark and branches, as well as her windswept hair. Some historians, however, discount the importance of Finelli's contribution. While the sculpture may be appreciated from multiple angles, Bernini planned for it to be viewed side on, allowing the observer to see the reactions of Apollo and Daphne simultaneously, thus understanding the narrative of the story in a single instant, without the need to move position. The centre of the alabaster trade today is Florence, Italy. Tuscan alabaster occurs in nodular masses embedded in limestone, interstratified with marls of Miocene and Pliocene age. The mineral is worked largely by means of underground galleries, in the district of Volterra. Several varieties are recognized—veined, spotted, clouded, agatiform, and others. The finest kind, obtained principally from Castellina, is sent to Florence for figure-sculpture, while the common kinds are carved locally, into vases, lights, and various ornamental objects. These items are objects of extensive trade, especially in Florence, Pisa, and Livorno. In the 3rd century BC the Etruscans used the alabaster of Tuscany from the area of modern-day Volterra to produce funeral urns, possibly taught by Greek artists. During the Middle Ages the Craft of alabaster was almost completely forgotten. A revival started in the mid-16th century, and until the beginning of the 17th century alabaster work was strictly artistic and did not expand to form a large industry. In the 17th and 18th centuries production of artistic, high-quality Renaissance-style artefacts stopped altogether, being replaced by less sophisticated, cheaper items better suited for large-scale production and commerce. The new industry prospered, but the reduced need of skilled craftsmen left only few still working. The 19th century brought a Boom to the industry, largely due to the "travelling artisans" who went and offered their wares to the palaces of Europe, as well as to America and the East. In the 19th century new processing technology was also introduced, allowing for the production of custom-made, unique pieces, as well as the combination of alabaster with other materials. Apart from the newly developed Craft, artistic work became again possible, chiefly by Volterran sculptor Albino Funaioli. After a short slump, the industry was revived again by the sale of mass-produced mannerist Expressionist sculptures, and was further enhanced in the 1920s by a new branch creating ceiling and wall lamps in the Art Deco style and culminating in the participation at the 1925 International Exposition of Modern Industrial and Decorative Arts from Paris. Important names from the evolution of alabaster use after World War II are Volterran Umberto Borgna, the "first alabaster designer". The term "Grand Tour" refers to the 17th and 18th century custom of a traditional trip of Europe undertaken by mainly upper-class young European men of sufficient means and rank (typically accompanied by a chaperon, such as a family member) when they had come of age (about 21 years old).[citation needed] Young women of equally sufficient means ("debutantes"), or those of either gender of a more humble origin who could find a sponsor, could also partake. The custom—which flourished from about 1660 until the advent of large-scale rail transport in the 1840s and was associated with a standard itinerary—served as an educational rite of passage. Though the Grand Tour was primarily associated with the British nobility and wealthy landed gentry, similar trips were made by wealthy young men of other Protestant Northern European nations, and, from the second half of the 18th century, by some South and North Americans. The tradition declined as enthusiasm for neoclassical culture waned, and with the advent of accessible rail and steamship travel—an era in which Thomas Cook made the "Cook's Tour" of early mass tourism a byword.

Dimensions:
Height: 27.17 in (69 cm)Width: 14.57 in (37 cm)Depth: 9.45 in (24 cm)
Style:
Grand Tour (Of the Period)
Materials and Techniques:
Alabaster,Hand-Carved
Place of Origin:
Europe
Period:
19th Century
Date of Manufacture:
After 1800
Condition:
Wear consistent with age and use.
Seller Location:
Roma, IT
Reference Number:
1stDibs: LU2433310982173

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