bacchus Flashcards
(29 cards)
date
1496-7
Location
bargello museum- florence
key elements
Bacchus holds grapes and a goblet, symbolizing wine, while struggling to balance them.
A satyr stands behind him eating fallen grape
Bacchus holds a tiger skin, one of his attributes
He is unbalanced in a drunken state
How is the drunken state of Bacchus represented?
Through contrapposto and a teetering pose
His rolling eyes and leaning body emphasize intoxication, creating a sense of instability and sensuality.
instability
what stands behind him and how does this show ancient influence
a stayr stands behind him, eating falling grapes
(influence of Praxiteles- shows focus on classical revival)
how is this identified as bacchus
-hold goblet and grapes
-grapes and ivy wreath in hair (sacred to bacchus)
-holds tiger skin, one of his key attributes
-contraposto imbalance
Subject matter
The sculpture depicts Bacchus, the Roman god of wine, and a satyr
what is a satyr
half man half goat
what inspired the subject matter
Inspiration comes from Pliny the Elder’s Natural History, which describes a lost bronze by Praxiteles depicting “Bacchus, Drunkenness, and a Satyr.”
how is this depiction somewhat androgynous
The semi-idealized nude has plump flesh, creating an androgynous quality.
Vasari noted the combination of “the slenderness of a young man” and “the roundness of a woman.”
How does the detail in Bacchus’ hair contribute to the sculpture?
IVY WREATH
: The ivy wreath in his hair, sacred to Bacchus, adds a divine attribute and displays detailed craftsmanship. Drill marks are visible, emphasizing Michelangelo’s early technique.
CURLY MASS
-recalls ancient greek sculpture
-used a drill for deep undercutting
is this work idealised
semi- idealised
how does this work foreshadow david
deveation from strict classical forms of human male
inclusion of precarious balance and detailed anatomy anticipates David
use of texture in this work
-baried
-contrast with smoothness of skin and texture of rough tree stump
-deep undercutting in hair, visable drill marks
-visable drill marks in eyes
material
-tuscan carrara marble (expensive- status) (divinity and status) (ACNCIENT REVIVAL)
KEY ELEMENTS OF TECHNIQUE
-Drill marks visable in hair, emphasising early technique and strive for realism
-polished (sensual)
-Extreme contraposto (lifted foot creates brecarious balance- stump and satyr counter weights, exposing low tensile strength of marble)
-undercutting in open mouth, hair and testicles
-rasp and chisel marks seen on the plinth
where is undercutting
-undercutting in open mouth, hair and testicles
where are rasp and chisel marks seen
-rasp and chisel marks seen on the plinth
michaleangelo’s context during this work
-had moved to rome at 21 to study and work with all antica subjects
HOW WAS IT DAMAGED AND HOW DOES THIS SHOW STRIVING FOR CLASSICAL REVIVAL
By the 1530s, it lost the goblet hand and penis. Only the goblet was restored, possibly to enhance its antique appearance when displayed among Roman fragments.
patronage
-comissioned by cardinal riario for his garden of antiques
-comissioned to convey riario’s renaissance learning and the climate of humanist emphasis on intellect and the revival of antiquity (intended to be displayed in riario’s garden of antiques)
-he rejected this peice due to either its androgony or its failure to meet classical ideals
WHAT WAS THE RELATIONSHIP BETWEEN RIARIO AND MICHELANGELO BEFORE THIS WORK
-michaelangelo had made a sleeping cupid figure and treated it with acidic earth to make it look ancient
-sold this work to riario, who learnt it was a fake
Who purchases this pwice after riario rejected it
Later purchased by Jacopo Galli, cardinal riario’s banker
was placed in his garden of antiquity
how is it influenced by neoplatonism
- drunkeness links to ‘divine madness’
-suggests spiritual ascention through intoxication
-Jacopo galli had connections to a circle of neoplatonists
