Minerva 1550 - 1599

Editor: Here we have Benvenuto Cellini’s “Minerva,” a bronze sculpture from the late 16th century. It has a smooth, almost polished look to it. I am really drawn to how small it is – so what do you make of it? Curator: It's fascinating to consider this bronze Minerva within the context of its production. Cellini, renowned for his goldsmithing, had to negotiate the challenges of casting such a piece in bronze. We need to look at what the materiality of bronze meant during that time – think about cannons and armor being made with similar processes. It speaks volumes about the societal power structures. Editor: So, bronze wasn't just a material; it had embedded connotations? Curator: Exactly. Bronze was alchemic. Consider the guilds and workshops: bronze casting was intensive and exclusive. How does understanding the physical effort and societal implications change your reading of Minerva’s pose or expression? Editor: It makes me think about the labour and the artistry, but it still represents this goddess figure. The Mannerist style with her elongated body and stylized pose does present a refined presentation. Curator: Precisely, the “high art” ideal clashes and connects with craft. Where do you see that conflict play out within this piece? Editor: Perhaps in the smoothness and idealized form – it seems to disguise the effort it took to create the work? Almost masking the labour of it, like many representations of power… Thank you, it made me rethink my initial perspective. Curator: My pleasure, and food for thought for me, too. By looking at materials and making, we can decode some embedded values within artworks and society!