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The work of Gian Lorenzo Bernini (1598-1680) has virtually defined the Baroque style in the visual arts. Bernini's famous Square of St. Peter's and Scala Regia at the Vatican transformed both locations into breathtaking theatrical sets, and Bernini's career featured a masterly integration of painting, sculpture, and architecture in one site. 280 color illustrations.
Sculptor and architect Bernini was the virtual creator and greatest exponent of Baroque in 17th century Italy. He has left his greatest mark on Rome where Papal patronage provided him with enormous architectural commissions.
Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet—surprisingly—there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture showcases portrait sculptures from all phases of the artist’s long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works. Bernini’s portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini’s ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi. Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.
Profiles the whirlwind life of the famed Italian sculptor who is known for his artistic and architectural contributions to the city of Rome.
A novel exploration of the threads of continuity, rivalry, and self-conscious borrowing that connect the Baroque innovator with his Renaissance paragon Gianlorenzo Bernini (1598–1680), like all ambitious artists, imitated eminent predecessors. What set him apart was his lifelong and multifaceted focus on Michelangelo Buonarroti—the master of the previous age. Bernini’s Michelangelo is the first comprehensive examination of Bernini’s persistent and wide-ranging imitation of Michelangelo’s canon (his art and its rules). Prevailing accounts submit that Michelangelo’s pervasive, yet controversial, example was overcome during Bernini’s time, when it was rejected as an advantageous model for enterprising artists. Carolina Mangone reconsiders this view, demonstrating how the Baroque innovator formulated his work by emulating his divisive Renaissance forebear’s oeuvre. Such imitation earned him the moniker “Michelangelo of his age.” Investigating Bernini’s “imitatio Buonarroti” in its extraordinary scope and variety, this book identifies principles that pervade his production over seven decades in papal Rome. Close analysis of religious sculptures, tomb monuments, architectural ornament, and the design of New Saint Peter’s reveals how Bernini approached Michelangelo’s art as a surprisingly flexible repertory of precepts and forms that he reconciled—here with daring license, there with creative restraint—to the aesthetic, sacred, and theoretical imperatives of his own era. Situating Bernini’s imitation in dialogue with that by other artists as well as with contemporaneous writings on Michelangelo’s art, Mangone repositions the Renaissance master in the artistic concerns of the Baroque from peripheral to pivotal. Without Michelangelo, there was no Bernini.
"A critical translation of the unabridged Italian text of Domenico Bernini's biography of his father, seventeenth-century sculptor, architect, painter, and playwright Gian Lorenzo Bernini (1598-1680). Includes commentary on the author's data and interpretations, contrasting them with other contemporary primary sources and recent scholarship"--Provided by publisher.
Nowhere is evidence of Bernini's unique abillity to unite architecture with sculpture and painting into a beautiful whole more compelling than in the Baroque chapel of Bernini's design: a dark world sealed below by a balustrade, covered by a luminous celestial dome, and populated by bodies of paint, marble, stucco, and flesh. This book explores three of these Baroque chapels to show how Bernini achieved his remarkable effects. Giovanni Careri examines the ways in which the artist integrated the disparate forms of architecture, painting, and sculpture into a coherent space for devotion, and then shows how this accomplishment was understood by religious practitioners. In the Fonseca Chapel, the Albertoni Chapel, and the church of Sant' Andrea al Quirinale, all in Rome, Careri identifies three types of ensemble and links each to a particular spiritual journey. Using contemporary theories in anthropology, film, and reception aesthetics, he shows how Bernini's formal mechanisms established an emotional dynamic between the beholder and a specific arrangement of forms. As an inquiry into the ways art in a certain historical context transformed and was transformed by its audience, Bernini: Flights of Love, the Art of Devotion is also a penetrating investigation into the aesthetic principles of multimedia composition.
This brilliant vignette of seventeenth-century Rome, its Baroque architecture, and its relationship to the Catholic Church brings to life the friendship between a genius and his patron with an ease of writing that is rare in art history. By 1650, the spiritual and political power of the Catholic Church was shattered. Thanks to the twin blows of the Protestant Reformation and the Thirty Years War, Rome—celebrated both as the Eternal City and Caput Mundi (the head of the world)—had lost its preeminent place in Europe. Then a new Pope, Alexander VII, fired with religious zeal, political guile, and a mania for creating new architecture, determined to restore the prestige of his church by making Rome the key destination for Europe's intellectual, political, and cultural elite. To help him do so, he enlisted the talents of Gianlorenzo Bernini, already celebrated as the most important living artist—no mean feat in the age of Rubens, Rembrandt, and Velazquez.