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Draws on contemporary biographies and a wealth of hitherto unpublished archival material to illuminate the position and practice of the Baroque sculptor, to enable the reader to appreciate, understand and evaluate the sculptural monuments of the Roman Baroque.
This study provides an introduction to the glories of Roman baroque architecture and its three greatest exponents, Bernini, Borromini and Cortona.
Delivered at the turn of the twentieth century, Riegl's groundbreaking lectures called for the Baroque period to be judged by its own rules and not merely as a period of decline.
At first a successful painter of the Roman Baroque, Pietro (Berrettini) da Cortona (1597-1669) soon emerged as an architect of equal stature. This book is the first to focus full attention on Cortona's buildings and projects and to assess his position in Roman Baroque architecture. The book discusses Cortona's major commissions, particularly SS. Luca e Martina, the Villa del Pigneto, S. Maria della Pace, and S. Maria in Via Lata, as well as the designs that remained unbuilt, such as his plans for the Palazzo Pitti in Florence and the Louvre in Paris. Cortona's great decorative cycles, including Palazzo Barberini, the Chiesa Nuova, and others are also considered as part of his stunning vocabulary of architectural decoration. The book explores Cortona's relationships and rivalries with other outstanding Roman architects to illuminate the competitive climate in which he worked, and it concludes with a review of his influence and reputation into the twentieth century.
This study analyzes the ways in which a variety of cultural manifestations were the necessary preconditions for (religious) policy and power in the Rome of Urban VIII (1623-1644). Precisely their interaction created what we now call 'Baroque Culture'.
Examines seventeenth-century sculpture in Rome. Focuses on questions of historical context and criticism, including the interaction of theory and practice, the creative roles of sculptors and patrons, the relationship of sculpture to antique models and to contemporary painting, and contextual meaning and reception.
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.
Reconsidering the terminology art historians use to describe 17th-century Roman sculpture, this history examines how famous artists, such as Bernini, Alessandro Algardi, François Duquesnoy, and lesser-known artists influenced one another during this period. Artistic events and completed works are presented in chronological order with an emphasis on the workshop relationships that allowed accomplished sculptors to apprentice younger artists. The use of Venetian-derived color, sublime accents, and travertine and marble that marked this era created a thoroughly modern Rome as statues and other examples of sculpture were placed in gardens, homes, and churches.