Il Cardinale

This cardinal has lowered his eyes and seems sunk in meditation. He has his cloak wrapped tightly around him, as if shielding himself from the outside world, and is completely introspective. This is not a portrait, but a formal study. Because the focus is on the typical robes, we may wonder whether the artist has depicted his vision of the function, rather than the person behind the function.

In this case, it could be that Manzù was addressing the principle of the “cardinale nipote”: since the Middle Ages, in the Catholic Church, the Pope’s nephew was appointed cardinal in order to keep power within the same family. Hence the word “nepotism.” This cardinal stands on a low pedestal and does not look at us. So, who really has power here: those in the spotlight, or those who operate invisibly in the wings?

Giacomo Manzù was a technically diverse Italian artist who expressed himself in various disciplines. In 1953, he had his first solo exhibition as a sculptor. He concentrated on several themes, such as nude dancers and religious subjects. His modern religious vision focusing on human suffering earned him both criticism and commissions from the Church. Starting from direct observation, he practiced a light form of abstraction.