This study consists of an analysis of the artwork Conversazioni, by the artist Oliviero Rainaldi. It is a monumental bronze sculpture situated in Rome, Italy, portraying the pope John Paul II. The initiative for the monument honouring the late pope was taken for the official celebrations of his beatification in 2011. This contemporary artwork is executed in a stylized form with very few details. The study aims to put in evidence the multiple layers of meaning which can be found, in opposition to the visible simplicity of its shape. The major narrative context emerges through an in- depth investigation of possible interpretations. This pope had a well known devotion to the Virgin Mary, a character strongly connected with the concept of mercy, being mercifulness a characteristics of Cristian faith. The artist has expressed this concept by focalizing on the opened cloak of the pope referring to the Virgin of Mercy, a Marian model of medieval origin. Furthermore it is possible to find and interpret other biblical quotations. The theoretical framework consists in the one built around the art historian Erwin Panofsky’s iconographical three-step method. Referring to Panofsky this study could best be classified as an iconological analysis since the intrinsic meanings of rather vague and complicated symbolisms have been sought. The method has consisted in field studies of the sculpture and its context as well as literature studies in order to create a background for major comprehension of the subject. An interview with the author of the artefact has also been made. The work became immediately heavily critiziced in mass media both because of its supposedly unflattering shape and the lack of resemblance with the portrayed person. The debate came to the point where the artist agreed to modify it. The study contains opinions from both people and institutions collected from italian newspaper articles written after the unveiling of the statue. An attempt has been done to try to better understand the negative reception it received. The answers can only be suppositions. Nevertheless, some valid hypothesis can be formulated: contemporary artworks easily seem out of context in Rome since they are quite unfrequent; The pope’s statue is out of context twice, being one of its kind in a profane and in modern history anticlerical environment; the iconography is not easily readable for an average beholder, a circumstance that could contribute to the initial low grade of comprehension; The statue doesn’t live up to people’s expectations of likeness; John Paul II is not immediately recognizable which is experienced by the viewer as disturbing as it is dealing with an homage to a famous person. It seems though, that the appreciation of it, after overcoming the initial disappointment, generally has grown. A plausible theory is that the sculpture Conversazioni however, manage to visualize universally valid religious concepts such as mercifulness and protection, a welcoming gesture readable and perceptible to everyone.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uu-355950 |
| Date | January 2018 |
| Creators | Cicoletti Malmberg, Eva |
| Publisher | Uppsala universitet, Konstvetenskapliga institutionen |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
Page generated in 0.0024 seconds