Curated by Chase Coble 

Bernini, The Ecstasy of St. Teresa, 1647-52

Arguably one of Bernini’s most controversial sculptures, The Ecstasy of St. Teresa depicts the nun’s spiritual vision. St. Teresa recounts her religious vision as distinctly physical and quite sexual.

Beside me, on the left, appeared an angel in bodily form.... He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire.... In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it—even a considerable share.
I wonder what her father would have thought? Bernini plays upon her words and her story, and depicts an interesting congress. The artist produces a work that forces the viewer to witness the Saint’s sexuality and spirituality. But which of the two are more apparent? Just like in the Saint’s recounting of her vision, one finds difficulty in discerning which of the two themes has a sharper tone. I’ll leave that question to the individual. 

Above the limp Saint an angel readies his spear to penetrate. Teresa’s mouth is agape, moaning. Her arms fall to the ground while her legs are slightly opened. She is totally vulnerable. Her ecstasy is made all the more evident by the sculptor’s inclusion of rays of light beaming down from the heavens. These rays ask the Saint to savor her ecstasy and blessing – and she does.