While most works of art highlighted on these pages owe their fame to their successful execution and reception, art by recognized masters also has a failure side. A trail of misfortunes due to experimental production methods, rebellious material, bad planning or rejection by patrons demonstrates that success was not always guaranteed. This new series will show some.
In early 17th century Rome, cardinal Scipione Borghese was among the first elite collectors to recognize the talents of the young and ambitious Baroque sculptor Gianlorenzo Bernini. In the 1620’s and under his patronage, Bernini produced important mythological and biblical sculptures for Borghese’s Villa, such as Pluto and Persephone, Apollo and Daphne, and David.
In 1632, Bernini was invited to try his hand on the cardinal’s own portrait bust. But when the artist had almost finished carving the over life-size head from Carrara marble, disaster struck. The stone cracked as he was touching up details, splitting the head from the brow to the back of the neck. Rescue operations with pins and clamps failed: after polishing, the crack still stood out visibly and Bernini was compelled to start all over. So he did, in secret because he did not want to disappoint his patron with whom he had established a personal friendship over the years. Working at lightning speed, Bernini managed to finish a new bust in 15 days (one biographer says 3 days, which sounds improbable and seems aimed at the kind of myth forming usual for legendary artists).
Bernini’s friendship with the magnanimous and good-humored cardinal allowed him to play a prank on the unveiling day. When Borghese arrived at the artist’s studio and was first shown the disfigured version, he tried to hide his disappointment but was astonished and the more grateful after seeing the second version.
Today, both versions can be seen in dialogue at the Villa Borghese. Ignoring the crack, the viewer may decide which is the more lively and natural one.
(Text: Jos Hanou)
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