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Profiles the whirlwind life of the famed Italian sculptor who is known for his artistic and architectural contributions to the city of Rome.
Bernini and His World is a unique exploration of Gian Lorenzo Bernini the sculptor, offering new insights into the artist including discussions of his stylistic innovations and the ways he approached sculpture. Placing his life and work within a social, anthropological and historical context, Pestilli gives a fascinating and in-depth account of the artist, from the Rome in which he lived and its reception to foreign sculptors to the myth-making aspects of his biographies, and his critics. Beautifully illustrated throughout, this engagingly written book draws on a deep familiarity with both historic and modern Italian culture to give readers a vivid account of sculpture and sculptors in early modern Rome and Bernini's lasting legacy.
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.
"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.
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.
"The vitality of Petersson's book is drawn directly from the sculpture of Bernini, an artist now regarded as the true successor of Michelangelo. It differs from others by bringing the reader inside the sculptural process, from genesis to completed form. Frequently Bernini had to solve uniquely interesting problems and his innovative talents never faltered." "As well as presenting the brilliant, flamboyant Bernini, the book simultaneously displays Rome in the throes of its Counter-Reformation renewal, the second birth of the city with the full panoply of its arts, culture, and aberrant activities during Bernini's years in the service of eight popes. In later life he expanded his fame by spending an eventful half year in Paris at the invitation of Louis XIV. The proud and touchy Bernini, then the most celebrated artist in Europe, was in a pitched battle with the arrogant and aggressive French. Yet in Paris as in Rome it is the artistic works that have lasted and are widely known as having redirected the course of European sculpture."--BOOK JACKET. Book jacket.
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.