At the time, Bernini was a teenager, and still restoring ancient sculptures alongside his artist-father, Pietro.It wasn’t long after Cardinal Scipione Borghese laid eyes on Bernini’s own early work, however, that the young artist’s prospects began to change. He decided that Bernini was just the modern sculptor to enhance his collection, and commissioned him to create a series of sculptures that would “stimulate the imagination” in every room of his sanctuary.(1623), another Borghese-commissioned masterpiece on view, shows how far the Cardinal and his friends would go to support the artist’s work.For the sculpture, Bernini is said to have modeled the biblical character’s face after his own.Accordingly, cybersex is about sex, but a form of sexual encounter involves experiences typical of other encounters, such as sexual arousal, masturbation, orgasm, and satisfaction.
Together, the sprawling group of Bernini’s marble and bronze sculptures, paintings, restoration work, and a single drawing not only reveal the full arc of the artist’s development and oeuvre—but also spotlight the importance of Borghese’s patronage to this process.
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In this way, the making of presents the Villa Borghese “as the place where [Bernini] hurtles through the stages of apprenticeship and a rapidly reached maturity,” as director of the Galleria Borghese Anna Coliva notes in the exhibition’s catalogue.
, once owned by the Cardinal but now in the Louvre’s collection, returns to its erstwhile Roman home (in fact, to the exact room where it sat before its sale to Napoleon) for the exhibition.