Introduction
This paper will compare the work of Bernini and Dosso Dossi, both of whom depicted the Greek myth of Apollo and Daphne as told by Greek poet Ovid in his work, The Metamorphosis. Dossi’s work was a painting completed during the renaissance period in Europe, while Bernini’s is a marble sculpture completed during the baroque era. The renaissance, which begun in 1401 and ended in 1527, was a period of re-awakening in Europe. The period was characterized by new scientific discoveries, new technology, exploration, and a renewed interest in art, philosophy, and literature. Florence in Italy, led by the powerful Medici family, who were enthusiastic patrons of art, was the leading center of early renaissance art. However, by 1497, when the high renaissance begun, Rome had become the most important center of renaissance art. Some of the high well-known renaissance artists include Leonardo da Vinci, Michelangelo, Titian, and Raphael. Dosso Dossi was a high renaissance artist, who served in the court of duke Alfonso of Ferrara (a city state in northern Italy).
A major feature of the renaissance period was a return to classical antiquity. This explains widespread depiction of classical Greek figures during the renaissance period. Interest in classical antiquity was accompanied by a shift towards humanism. The fusion of a classical antiquity and humanism resulted in art that often fused the mythical and the contemporary. This could take the form of blending features from gods and mythical creatures into works depicting human like characters. Some of the renaissance attributes used to retell classical mythologies includes three-dimensional realism and scientific knowledge (Dewitte, Larman and Shields 376-380)
Art during the baroque period was characterized by exuberance, embellishment, color, pageantry, massiveness, and drama. The baroque era started in 1597 and ended around 1720. Rome was the epicenter of baroque, but the style rapidly spread to other European countries where the Roman Catholic church held sway. The catholic church encourage baroque as a way to reassert its authority after the challenges it faced during the protestant reformation during the middle decades of the 1500s. Aristocrats also saw in art an opportunity to show how powerful they were. The more exuberant the King/queen was, the more powerful he/she was assumed to be. The power struggle between the church and the political state extended to the arts as each bid to outdo the other in showing who was more awe-inspiring. This era, therefore, led to the production of some of the most magnificent pieces of art in history. Some of the remarkable artists during this period included Bernini, Caravaggio, Rembrandt, Poussin, and Vermeer (DeWitte et al. 393-395).
The Myth of Apollo and Daphne
The myth of Apollo and Daphne was written by Greek poet, Ovid. The Media Center for Art History, Columbia University summarizes the story. Apollo was a powerful god and a renowned warrior. One day, he met Eros (Cupid), the god of love and mocked him for carrying a bow and an arrow. Cupid was greatly annoyed by Apollo’s mockery and decided to teach him a lesson by making him pursue unrequited love. Cupid prepared two arrows, one golden and the other made of lead. He struck Apollo with the golden arrow and made him greatly desire and fall in love with Daphne, daughter to the river god, Peneus. With the leaden arrow, Cupid shot Daphne, which made her hate Apollo.
Apollo physically pursued Daphne relentless, which made her even more determined to avoid him. When it was clear that Apollo would catch up with the nymph, she cried out to her father for assistance, since she had convinced her father of her intention to stay unmarried for life. Peneus answered his daughter’s plea by turning her into a laurel tree. In spite of this turn of event, Apollo’s love for Daphne did not end, instead, he swore to love her even in her current form. Even though he could not marry her, Apollo pledged eternal love to Daphne. To show his commitment to her, he made a wreath of laurels as his crown (MCAH 2-3). The sculpture by Bernini freezes at a critical moment in the story when Apollo has caught up with Daphne and nymph is in the process of her transformation.