Bacchus 1675 - 1705

Editor: Here we have François Girardon's "Bacchus," a bronze sculpture dating from between 1675 and 1705. It’s incredibly lifelike. What strikes me most is the rich, almost chocolatey color of the bronze. What can you tell me about it? Curator: The choice of bronze is key. It speaks to the social status that allowed such commission, since working with bronze requires both access to the material and skilled labor to cast it properly. Do you see how it reflects the societal values about luxury goods and the construction of wealth at that time? Editor: I do now! It wasn’t just about artistry; it was about material power. And it really showcases technical mastery! What about Bacchus, the subject himself? Curator: Bacchus, the Roman god of wine, was typically associated with freedom and altered states. What’s interesting to consider here is how that iconography gets deployed. Was Girardon perhaps asked to cast the sculpture a certain way to support royal propaganda? Editor: Propaganda, how so? Curator: Well, think about it: what’s depicted and what’s omitted helps promote a certain perception. Instead of showing an actively partying god, we see more controlled imagery meant to reinforce the power that’s on display. The god himself is rendered as luxury goods available on the market. How would that make people feel and act towards authority? Editor: So, even a figure representing hedonism and intoxication can be turned into a tool for solidifying authority and demonstrating economic superiority. It really opens your eyes. Thanks so much. Curator: You're welcome. Focusing on the production, consumption and social context gives a new dimension to art.