Marsyas ca. 1680–85 Balthasar Permoser German Flayed alive after losing a musical contest to the god Apollo, the satyr Marsyas screams in the midst of his torture. Every aspect of the figure, from squinting eyes to torn tongue and flamelike hair, contributes to this image of torment. Early in his career, the sculptor Permoser worked in Florence, where this bust likely was carved. It is his personal response to Gianlorenzo Bernini's dramatic style, especially the Damned Soul of about 1619 (Palazzo di Spagna, Rome). While important sculptures by Pietro and Gianlorenzo Bernini are represented in
Marsyas ca. 1680–85 Balthasar Permoser German Flayed alive after losing a musical contest to the god Apollo, the satyr Marsyas screams in the midst of his torture. Every aspect of the figure, from squinting eyes to torn tongue and flamelike hair, contributes to this image of torment. Early in his career, the sculptor Permoser worked in Florence, where this bust likely was carved. It is his personal response to Gianlorenzo Bernini's dramatic style, especially the Damned Soul of about 1619 (Palazzo di Spagna, Rome). While important sculptures by Pietro and Gianlorenzo Bernini are represented in the Museum's collection, Marsyas is our first work by Permoser, who helped to transmit the Italian Baroque style to Germany when he returned to his native Dresden. Listen to experts illuminate this artwork's story Listen Play or pause #89. Body Language: Educator and Curator: Marsyas Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as Marsyas 211486
Size: 2912px × 3880px
Photo credit: © MET/BOT / Alamy / Afripics
License: Licensed
Model Released: No
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