Autumn in the Guise of Priapus (one of a pair) 1616 - 1617

Editor: Here we have Pietro Bernini’s marble sculpture, "Autumn in the Guise of Priapus," created around 1616. It's hard to miss the overflowing basket of fruit he’s holding, and those rather striking feet at the base. What fascinates me most is the theatricality – this figure is making a statement. How do you interpret its presence within the art world of its time? Curator: It's crucial to consider Bernini's patronage and audience. Think about who would have commissioned such a work, and where it would have been displayed. "Autumn" is not simply a decorative piece, but one loaded with symbolic and political intent. Priapus, the god of fertility, is cleverly recast as Autumn, aligning the abundance of the season with concepts of power and prosperity. What effect do you think its display would have on viewers during that period? Editor: I see. So, beyond just appreciating its beauty, viewers were perhaps meant to draw parallels between the depicted abundance and the patron's own perceived authority and generosity? Almost like visual propaganda? Curator: Precisely. It's a calculated performance. Notice, too, the classical realism combined with the dramatic flair of the Baroque style. Bernini deliberately invoked classical precedents, thereby associating his patron with the grandeur of the Roman Empire. How does that marriage of styles speak to the public role of art during this era? Editor: It becomes clear that the artist isn't merely representing Autumn, but actively constructing an image intended to bolster the social and political standing of the commissioner. I hadn't considered the active role that sculpture had. Thanks! Curator: Reflecting on "Autumn," it's exciting to uncover the complex interplay of artistic skill, political maneuvering, and societal values embedded within seemingly straightforward depictions. A valuable lesson.