Toro Farnese 19th-20th century

Giorgio Sommer made this photograph of the Farnese Bull sculpture sometime in the mid-19th century. The photograph captures a grand sculpture, originally a Roman copy of a Hellenistic work, depicting the myth of Dirce, who was tied to a bull by the sons of Antiope as punishment. Sommer, working in Italy, found a ready market for images of antiquities among tourists eager to bring home souvenirs of their travels. But these images also played a role in shaping scholarly understanding of classical art. Photography offered a new level of detail and accuracy compared to earlier methods of reproduction, like engravings. Consider how the black background isolates the sculpture, emphasizing its form and detail. The photograph transforms a massive, three-dimensional object into a portable, two-dimensional image, thus altering its meaning and accessibility. It is through close attention to the social and technological context that we can fully understand the role this photograph played in shaping the reception of classical sculpture. Researching Sommer’s life, the market for antiquarian photographs, and the history of the Farnese Bull itself offers a richer understanding of this image.