(Photo: Chris Harris)
THE BACCHANAL: FAUN TEASED BY CHILDREN
Researched by Rochelle Almeida
1976.92
Artist: Gian Lorenzo Bernini (1598-1680)
Marble Sculpture
Provenance: Rome, Italy.
Circa: 17th Century (1616-17)
Who is depicted in this sculpture?
This arresting marble sculpture represents a marvelous little vignette of a faun, a mythological creature, at play with a trio of children, possibly triplets, as they all seem to be of the same age.
Who was Bernini?
Gian Lorenzo Bernini was the heroic central figure in Italian Baroque, a term which is art, is generally associated with wild exuberance and a tendency towards decoration bordering on the ornate, even excessive.
Bernini was influenced deeply by his own father, the Florentine-born Pietro, as can be seen in the buoyant forms and cottony texture of the Bacchanal. The lively and strongly accented diagonals, however, are distinctly the work of the son. What is remarkable about this piece is that it was executed by a very young Bernini, merely in the infancy of his sculpting career, at the tender age of 18, and yet through this work, he already displayed what would become a lifelong interest in the rendering of emotional and spiritual exaltation.
Materials and Method:
This sculpture is worked in marble, possibly from Carrara, as were many notable works of the Renaissance period, such as Michaelangelo’s Pieta, David, etc.
Dimensions and Scale:
Compared to many contemporary sculpted works of marble, which tended to be larger than life, this Bacchanal is tiny. To be fully appreciated it must be gradually encircled, for the sculptor has chosen to present a three-dimensional, free standing tableau that allow him to explore the depiction of cherubic, angelic figures from many different angles. Its charm lies in the miniature proportions of the depiction. The vignette stands upon a self-serving, solid marble base. In its complicated angles and curves, the artist has explored the possibilities of negative space to the hilt. What is also interesting is his decision to keep the inanimate objects, such as the tree bark, the vines, fruit, etc. in the tableau in their natural state, while the human figures appear highly polished. This interesting contrast creates magnificent texture and adds to our appreciation of the work.
Symbolism in the Sculpture:
By the time Bernini began this piece of work, it had become fashionable to create vignettes depicting the Roman God Bacchus, associated with Wine and Merry-making. The Faun is a Bacchic figure, exulting in almost drunken revelry in the company of the children. The life-sized grapes that wind around the vine that encircles the tree, furthers the Bacchanalian symbolism associated with this work. The faun indulges in horseplay with the children, two of whom are hoisted on the tree trunk while the other toddles at the base.
Though Bacchus is associated with Pagan rites, from a Christian perspective, these creatures seem to inhabit a Paradisiac world—Eden before the fall. They are undisturbed by their nudity and frolic without a care in the world. The entire mood of this sculpture is one of happy abandon. Though the title of this piece would suggest that the faun is teased in his lair, he seems to be delighted by the intrusion and has given himself up completely to the pleasure of the moment.
The vine is heavy with fruit as are the boughs higher up the tree that bear rounded fruit, possibly apples. The apples contribute to the setting—Paradise–and also denote a sense of happy abundance.
Visual Details:
That this carefree play occurs in an idyllic setting is evident in the “props” that form the woodland backdrop. The faun is a powerful representation of mythological masculinity. Notice the almost fluid quality of his muscles, seemingly quivering along his strong legs, arms and back. He also has a small goatee for a beard and what appears to be a tuft of hair (like a miniature tail in the center of his back). The woodland scheme is emphasized through the wreath of vines twined around his head.
The children are plump and cherubic and wear a growth of ringlets around their heads. They are seen in the company of a large cat, a lioness perhaps, and a reptilian creature; yet they are unafraid and continue their play. Because these creatures frolic so gleefully together, we can assume that the animals are tame and are known to the children.
Conclusion:
Bernini’s mastery at creating charm and grace out of the roughness of marble is superbly demonstrated in this sculpture. The overall impression of this piece is of the sweetness and joys of childhood, the comfort of abundance and the pleasures of happy companionship.
BIBLIOGRAPHY
Hecht, Johanna: Notable Acquisitions 1975-1979, 30-31.
Raggio, Olga: “A New Bacchic Group by Bernini”. Apollo, Vol. 108, Dec, 1978, 406-17.
Wittkower, Rudolf: Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. 3rd Edition. Ithaca, 1981, 278.