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Bernini and the Unity of the Visual Arts Chinese Version

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Gian Lorenzo Bernini

Self-Portrait of Bernini, circa 1623
Birth proper name Gian Lorenzo Bernini
Born (1598-12-07)vii Dec 1598
Naples, Kingdom of Naples, in present-day Italy
Died 28 Nov 1680(1680-11-28) (anile 81)
Rome, Papal States, in present-day Italy
Nationality Italian
Field Sculpture, painting, architecture
Movement Bizarre
Works David, Apollo and Daphne, The Rape of Proserpina, Ecstasy of Saint Theresa

Gian Lorenzo Bernini (besides spelled Gianlorenzo or Giovanni Lorenzo) (Naples, 7 December 1598 – Rome, 28 November 1680) was an Italian artist who worked principally in Rome. He was the leading sculptor of his age and also a prominent architect. In addition he painted, wrote plays, and designed metalwork and stage sets.

A student of Classical sculpture, Bernini possessed the unique ability to capture, in marble, the essence of a narrative moment with a dramatic naturalistic realism which was almost shocking. This ensured that he effectively became the successor of Michelangelo, far outshining other sculptors of his generation, including his rival, Alessandro Algardi. His talent extended beyond the confines of his sculpture to consideration of the setting in which information technology would exist situated; his ability to synthesise sculpture, painting and architecture into a coherent conceptual and visual whole has been termed by the art historian Irving Lavin the "unity of the visual arts." [1] A deeply religious homo, working in Counter Reformation Rome, Bernini used light equally an important metaphorical device in the perception of his religious settings, often using hidden light sources that could intensify the focus of religious worship, [2] or raise the dramatic moment of a sculptural narrative.

Bernini was also a leading figure in the emergence of Roman Baroque architecture along with his contemporaries, the builder, Francesco Borromini and the painter and builder, Pietro da Cortona. Early in their careers they had all worked at the aforementioned time at the Palazzo Barberini, initially under Carlo Maderno and on his death, under Bernini. Subsequently, however, they were in competition for commissions and trigger-happy rivalries adult, particularly between Bernini and Borromini. [3] [4] Despite the arguably greater architectural inventiveness of Borromini and Cortona, Bernini'southward creative pre-eminence, particularly during the reigns of popes Urban Eight (1623–1644) and Alexander VII (1655–1665), meant he was able to secure the most important commission in the Rome of his mean solar day, St. Peter's Basilica. His blueprint of the Piazza San Pietro in front of the Basilica is one of his most innovative and successful architectural designs.

During his long career, Bernini received numerous important commissions, many of which were associated with the papacy. At an early on historic period, he came to the attention of the papal nephew, Cardinal Scipione Borghese, and in 1621, at the historic period of only 20 three, he was knighted by Pope Gregory Fifteen. Following his accretion to the papacy, Urban Eight is reported to accept said, "Your luck is great to see Primal Maffeo Barberini Pope, Cavaliere; but ours is much greater to have Cavalier Bernini alive in our pontificate." [five] Although he did not fare so well during the reign of Innocent X, nether Alexander Seven, he once again regained pre-eminent creative domination and continued to be held in high regard past Cloudless 9.

Bernini and other artists fell from favour in afterwards neoclassical criticism of the Bizarre. It is only from the late nineteenth century that art historical scholarship, in seeking an understanding of artistic output in the cultural context in which information technology was produced, has come up to recognise Bernini's achievements and restore his artistic reputation.

Contents

  • 1 Early life
  • 2 Ascent to master sculptor
  • 3 Mature sculptural output
  • iv Architecture
  • v Fountains in Rome
  • 6 Marble portraiture
  • 7 Other works
  • 8 The first biographies of Bernini
  • nine Selected works
    • nine.1 Sculpture
    • 9.2 Paintings
  • x Gallery
  • xi References
  • 12 Further reading
  • thirteen External links

Early on life

Bernini was born in Naples to a Mannerist sculptor, Pietro Bernini, originally from Florence, and Angelica Galante, a Neapolitan, the sixth of their thirteen children. [half-dozen] [7] Bernini himself would not marry until May 1639, at age forty-ane, when he wed a 20-two year old Roman girl, Caterina Tezio, an arranged wedlock that bore him eleven children. [8] In 1606, at the age of eight he accompanied his father to Rome, where Pietro was involved in several high profile projects. [9] There, as a boy, Gianlorenzo's skill was soon noticed by the painter Annibale Carracci and by Pope Paul V, and he soon gained the important patronage of Cardinal Scipione Borghese, the papal nephew. His first works were inspired past antiquarian Hellenistic sculpture.

Rise to principal sculptor

Nether the patronage of the Key Borghese, the young Bernini chop-chop rose to prominence as a sculptor. Among the early works for the key were decorative pieces for the garden of the Villa Borghese such as The Goat Amalthea with the Infant Zeus and a Faun, and several allegorical busts such every bit the Damned Soul and Blessed Soul. By the time he was xx-two, he had completed the Bust of Pope Paul 5. Scipione'south collection in situ at the Borghese gallery chronicles his secular sculptures, with a series of masterpieces:

  • Aeneas, Anchises, and Ascanius (1619) depicts 3 ages of homo from various viewpoints, borrowing from a effigy in a Raphael fresco. In The Aeneid, Aeneas flees the burning city of Troy, carrying his male parent and his son at his heels. His father holds the household gods and his son holds the eternal flame. Aeneas is the founder of Latium, later Italian republic, and the male parent of the Romans. The sculpture is in a very Mannerist upwards spiral.
  • The Rape of Proserpina (1621–1622) recalls Giambologna's Mannerist Rape of the Sabine Women, and displays a masterful attention to detail, including the abductor "dimpling" the woman'south marble pare.
  • Apollo and Daphne (1622–1625) has been widely admired since Bernini'southward time; forth with the subsequent sculpture of David information technology represents the introduction of a new sculptural aesthetic. It depicts the most dramatic and dynamic moment in i of Ovid's stories in his Metamorphoses. In the story, Apollo, the god of calorie-free, scolded Eros, the god of beloved, for playing with adult weapons. In retribution, Eros wounded Apollo with a golden arrow that induced him to autumn madly in love at the sight of Daphne, a water nymph sworn to perpetual virginity, who, in addition, had been struck by Eros with a lead arrow which acquired her to harshly spurn Apollo's advances. The sculpture depicts the moment when Apollo finally captures Daphne, yet she has implored her father, the river god, to destroy her beauty and repel Apollo's advances by transforming her into a laurel tree. This statue succeeds at various levels: information technology depicts the event and also represents an elaborate conceit of sculpture. This sculpture tracks the metamorphoses as a representation in stone of a person irresolute into lifeless vegetation; in other words, while a sculptor'south art is to change inanimate stone into animated narrative, this sculpture narrates the opposite, the moment a woman becomes a tree.
  • David (1623–1624) like the Apollo and Daphne, was a revolutionary sculpture for its fourth dimension. Both depict movement in a manner not previously attempted in stone. The biblical youth is taut and poised to rocket his projectile. Famous Davids sculpted by Bernini's Florentine predecessors had portrayed the static moment before and after the issue; Michelangelo portrayed David prior to his battle with Goliath, to intimate the psychological fortitude necessary for attempting such a gargantuan task; the contemplative intensity of Michelangelo's David or the haughty effeteness of Donatello'south and Verrocchio'due south Davids are all, however, portraying moments of stasis. The twisted body, furrowed forehead, and granite grimace of Bernini's David recap Bizarre fixation with dynamic movement and emotion over Loftier Renaissance stasis and classical severity. Michelangelo expressed David's psychological fortitude, preparing for battle; Bernini captures the moment when he becomes a hero.

Mature sculptural output

Bernini's sculptural output was immense and varied. Amongst his other well-known sculptures: the Ecstasy of St. Theresa, in the Cornaro Chapel (see Bernini's Cornaro chapel: the complete work of art found in the Baroque section), Santa Maria della Vittoria, and the now-hidden Constantine, at the base of the Scala Regia (which he designed). He was given the commission for the Tomb of Pope Urban VIII in St Peters. He helped blueprint the Ponte Sant'Angelo, sculpting 2 of the angels, soon replaced by copies by his own hand, while the others were made by his pupils based on his designs.

At the cease of April 1665, at the peak of his fame and powers he travelled to Paris, where he remained until November; he met Paul Fréart de Chantelou who kept a Journal of Bernini's visit. [10] Bernini'southward international popularity was such that on his walks in Paris the streets were lined with admiring crowds. This trip, encouraged by Father Oliva, full general of the Jesuits, was a response to the repeated requests for his works by Male monarch Louis 14. Here Bernini presented some designs for the east front of the Louvre. which were ultimately rejected. He presently lost favor at the French court equally he praised the art and compages of Italy over that of France; he said that a painting by Guido Reni was worth more than than all of Paris. The sole work remaining from his time in Paris is a bust of Louis XIV, which set the standard for imperial portraiture for a century.

Architecture

Bernini's architectural works include sacred and secular buildings and sometimes their urban settings and interiors. [eleven] He made adjustments to existing buildings and designed new constructions. Amongst his well-nigh well known works are the Piazza San Pietro (1656–1667), the piazza and colonnades in front end of St. Peter's Basilica and the interior decoration of the Basilica. Among his secular works are a number of Roman palaces: following the decease of Carlo Maderno, he took over the supervision of the building works at the Palazzo Barberini from 1630 on which he worked with Borromini; the Palazzo Ludovisi (now Palazzo Montecitorio)(started 1650); and the Palazzo Chigi (now Palazzo Chigi-Odescalchi) (started 1664).

St. Peter's baldachin

His first architectural projects were the façade and refurbishment of the church building of Santa Bibiana (1624–1626) and the St. Peter'southward baldachin (1624–1633), the statuary columned canopy over the high altar of St. Peter's Basilica. In 1629, and earlier St. Peter's baldachin was complete, Urban VIII put him in charge of all the ongoing architectural works at St Peter's. Yet, due to political reasons and miscalculations in his pattern of the bell-towers for St. Peter'south, of which only one was completed and then subsequently torn downwardly, Bernini cruel out of favor during the Pamphili papacy of Innocent X. [12] Never wholly without patronage, Bernini then regained a major role in the ornamentation of St. Peter'south with the Pope Alexander Vii Chigi, leading to his blueprint of the piazza and colonnade in front of St. Peter'south. Further pregnant works by Bernini at the Vatican include the Scala Regia, (1663–6) the awe-inspiring grand stairway entrance to the Vatican Palace and the Cathedra Petri, the Chair of Saint Peter, in the apse of St. Peter'due south.

Colonnade of Piazza San Pietro

Bernini did not build many churches from scratch, rather his efforts were concentrated on pre-existing structures, and in item St. Peter's. He fulfilled 3 commissions for new churches; his stature allowed him the freedom to pattern the structure and decorate the interiors in a consequent way. Best known is the small oval baroque church building of Sant'Andrea al Quirinale, a work which Bernini's son, Domenico, reports his father was very pleased with. [13] Bernini also designed churches in Castelgandolfo (San Tommaso da Villanova, 1658–1661) and Ariccia (Santa Maria Assunta, 1662–1664).

When Bernini was invited to Paris in 1665 to prepare works for Louis Xiv, he presented designs for the east facade of the Louvre Palace only his projects were ultimately turned downwardly in favour of the more stern and archetype proposals of the French md and amateur architect Claude Perrault, [14] signalling the waning influence of Italian artistic hegemony in France. Bernini'southward projects were substantially rooted in the Italian Baroque urbanist tradition of relating public buildings to their settings, oftentimes leading to innovative architectural expression in urban spaces like piazze or squares. However, by this time, the French absolutist monarchy now preferred the classicising awe-inspiring severity of Perrault's facade, no doubt with the added political bonus that it been designed past a Frenchman. The final version did, still, include Bernini's feature of a flat roof behind a Palladian balustrade.

In 1639, Bernini bought property on the corner of the via Mercede and the via del Collegio di Propaganda Fide in Rome. On this site he congenital himself a palace, the Palazzo Bernini, at what are now Nos 11 and 12 via della Mercede. He lived at No. 11 simply this was extensively inverse in the nineteenth century. It has been noted how very galling it must take been for Bernini to witness through the windows of his home, the construction of the belfry and dome of Sant'Andrea delle Fratte past his rival, Borromini, and also the sabotage of the chapel that he, Bernini, had designed at the Collegio di Propaganda Fide to run into it replaced by Borromini'southward chapel. [fifteen]

Fountains in Rome

True to the decorative dynamism of Bizarre, among Bernini's most gifted creations were his Roman fountains that were both public works and papal monuments. His fountains include the Fountain of the Triton or Fontana del Tritone and the Barberini Fountain of the Bees, the Fontana delle Api. [16] The Fountain of the Four Rivers or Fontana dei Quattro Fiumi in the Piazza Navona is a masterpiece of spectacle and political allegory. An oft-repeated, merely false, chestnut tells that one of the Bernini'south river gods defers his gaze in disapproval of the facade of Sant'Agnese in Agone (designed by the talented, but less politically successful, rival Francesco Borromini). Withal, the fountain was built several years before the façade of the church was completed. Bernini was also the creative person of the statue of the Moor in La Fontana del Moro in Piazza Navona (1653).

Marble portraiture

Bust of Cardinal Armand de Richelieu (1640–1641)

Bernini also revolutionized marble busts, lending glamorous dynamism and animation to the stony stillness of portraiture. Starting with the firsthand pose, leaning out of the frame, of bust of Monsignor Pedro de Foix Montoya at Santa Maria di Monserrato, Rome. The once-gregarious Cardinal Scipione Borghese, in his bust is frozen in conversation.

His most famous portrait is that of Costanza Bonarelli (c. 1637). Information technology does non portray divinity or royalty, only a woman in a moment of disheveled privacy. Bernini had an matter with Costanza, who was the wife of 1 of Bernini's assistants. When Bernini suspected Costanza to exist involved with his brother, he badly beat him and ordered a servant to slash her face with a razor. Pope Urban VIII intervened on his behalf and he was fined. [17]

Bernini also gained royal commissions from outside Italy, for subjects such as Louis XIV, Cardinal Richelieu, Francesco I d'Este, Charles I of England and Henrietta Maria. The concluding two were produced in Italy from portraits made by Van Dyck (now in the purple drove), though Bernini preferred to produce portraits from life – the bust of Charles was lost in the Whitehall Palace fire of 1698 and that of Henrietta Maria was not undertaken due to the outbreak of the English Civil State of war. [18] [19]

Other works

The Elephant and Obelisk, affectionately known equally Bernini'due south Chick past the Roman people, is located in the Piazza della Minerva and in forepart of the church building of Santa Maria sopra Minerva. Pope Alexander Vii decided that he wanted an ancient Egyptian obelisk to be erected in the piazza and in 1665 he commissioned Bernini to create a sculpture to support the obelisk. The sculpture of an elephant bearing the obelisk on its back was created by 1 of Bernini's students, Ercole Ferrata and finished in 1667. An inscription on the base aligns the Egyptian goddess Isis and the Roman goddess Minerva with the Virgin Mary who the church is dedicated to. [20] A popular anecdote concerns the elephant's smile. To detect out why information technology is smiling, the viewer must head around to the rear end of the animal and to see that its muscles are tensed and its tail is shifted to the left as if it were defecating. The animate being's rear is pointed directly at the office of Begetter Giuseppe Paglia, a Dominican friar, who was ane of the main antagonists of Bernini and his creative person friends, as a final salute and final word. [21]

Bernini worked along with Ercole Ferrata to create a much admired fountain for the Lisbon palace of the Portuguese nobleman, the Count of Ericeira. For the same patron he also created a series of paintings with the battles of Louis XIV as field of study. These works were lost as the palace, its great library and the rich art collection of the Counts of Ericeira, were destroyed along with most of central Lisbon equally a result of the great earthquake of 1755.

The death of his patron Urban VIII in 1644 and the ballot of the Pamphilj pope, Innocent X, initially marked a downturn in Bernini'southward career and released a series of opportunities for Bernini's rivals. All the same, inside several years, Innocent reinstated him at St Peter'due south to work on the extended nave and commissioned the Four Rivers fountain in the Piazza Navona. At the time of Innocent'southward death in 1655, Bernini was the arbiter of public artistic taste in Rome. His artistic ascendency continued under Alexander Seven.

He died in Rome in 1680, and was buried in the Basilica di Santa Maria Maggiore.

Amongst the many who worked under his supervision were Luigi Bernini, Stefano Speranza, Giuliano Finelli, Andrea Bolgi, Filippo Parodi, Giacomo Antonio Fancelli, Lazzaro Morelli, Francesco Baratta Nicodemus Tessin, and Francois Duquesnoy. Among his rivals in architecture were Francesco Borromini and Pietro da Cortona; in sculpture, Alessandro Algardi.

The first biographies of Bernini

The most of import chief source for the life of Bernini is the biography written by his youngest son, Domenico, entitled Vita del Condescending Gio. Lorenzo Bernino, published in 1713, though first compiled in the last years of his father's life (ca. 1675-80). [22] Filippo Baldinucci's Life of Bernini, was published in 1682 and a meticulous private journal, the Diary of the Cavaliere Bernini'due south Visit to France, was kept by the Frenchman Paul Fréart de Chantelou during the creative person'due south 4-calendar month stay from June–Oct 1665 at the court of Rex Louis Fourteen. As well there is a brusk biographical narrative, The Vita Brevis of Gian Lorenzo Bernini, written past his eldest son, Monsignor Pietro Filippo Bernini, in the mid-1670s, [23]

Until the tardily twentieth century, it was mostly believed that two years subsequently Bernini's decease, Queen Christina of Sweden, then living in Rome, deputed Filippo Baldinucci to write his biography which was published in Florence in 1682. [24] However, contempo inquiry has suggested that it was in fact Bernini's sons (and specifically the eldest son, Mons. Pietro Filippo) who commissioned the biography from Baldinucci onetime in the late 1670s, with the intent of publishing it while their male parent was still alive. This would infer that firstly, that the commission did not come from Queen Christina who would have merely lent her name as patron and secondly, that Baldinucci's narrative was largely derived from Domenico Bernini's biography of his father. [25] In sum, Domenico'due south biography, though published later than Baldinucci's, represents the earlier and more of import total-length biographical source of Bernini'south life, even though information technology may idealize a number of facts.

Selected works

Sculpture

  • Bosom of Giovanni Battista Santoni (c. 1613–1616) Marble, life-size, Santa Prassede, Rome
  • The Goat Amalthea with the Babe Jupiter and a Faun (1615) Marble, Galleria Borghese, Rome
  • A Faun Teased by Children (1616–1617) Marble, height 132,ane cm, Metropolitan Museum of Art, New York
  • Martyrdom of St. Lawrence (1617) Marble, 66 x 108 cm, Contini Bonacossi Collection, Galleria degli Uffizi, Florence
  • St. Sebastian (1617–1618) Marble, Thyssen-Bornemisza Museum, Madrid
  • Bosom of Pope Paul Five (1618) Marble, Galleria Borghese, Rome
  • Aeneas, Anchises, and Ascanius (1618–1619) Marble, height 220 cm, Galleria Borghese, Rome
  • Bust of Giovanni Vigevano (1618–1631) Marble tomb, Santa Maria sopra Minerva, Rome
  • Damned Soul (1619) Palazzo di Spagna, Rome
  • Blessed Soul (1619) Palazzo di Spagna, Rome
  • Neptune and Triton (1620) Marble, superlative 182,2 cm, Victoria and Albert Museum, London
  • Bosom of Monsignor Pedro de Foix Montoya (c. 1621) Marble, life-size, Santa Maria di Monserrato, Rome
  • The Rape of Proserpina (1621–1622) Marble, summit 295 cm, Galleria Borghese, Rome
  • Bust of Antonio Cepparelli (1622) Marble, Museo di San Giovanni dei Fiorentini, Rome
  • Apollo and Daphne (1622–1625) Marble, height 243 cm, Galleria Borghese, Rome
  • David (1623–1624) Marble, height 170 cm, Galleria Borghese, Rome
  • St. Peter'south Baldachin (1624) Statuary, partly aureate, Basilica di San Pietro, Vatican City
  • Fontana del Tritone (1624–1643) Travertine, over life-size, Piazza Barberini, Rome
  • Charity with Four Children (1627–1628) Terracotta, height 39 cm, Museo Sacro, Musei Vaticani, Vatican
  • Fontana della Barcaccia (1627–1628) Marble, Piazza di Spagna, Rome
  • Tomb of Pope Urban Viii (1627–1647) Gilt bronze and marble, figures larger than life-size, Basilica di San Pietro, Vatican City
  • Saint Longinus (1631–1638) Marble, pinnacle 450 cm, Basilica di San Pietro, The holy see
  • Two Busts of Scipione Borghese (1632) Marble, height 78 cm, Galleria Borghese, Rome
  • Bust of Pope Urban VIII (1632–1633) Statuary, height 100 cm, Museo Sacro, Musei Vaticani, State of the vatican city
  • Clemency with Two Children (1634) Terracotta, height 41.6 cm, Museo Sacro, Musei Vaticani, Vatican Metropolis
  • Bust of Costanza Bonarelli (c. 1635) Marble, pinnacle seventy cm, Museo Nazionale del Bargello, Florence
  • Bust of Thomas Baker (1638) Marble, top 81,6 cm, Victoria and Albert Museum, London
  • Bust of Cardinal Armand de Richelieu (1640–1641) Marble, Musée du Louvre, Paris
  • Truth (1645–1652) Marble, pinnacle 280 cm, Galleria Borghese, Rome
  • Bust of Pope Leo Ten (1647) Palazzo Doria Pamphilij, Rome
  • Ecstasy of St. Theresa (1647–1652) Marble, Cappella Cornaro, Santa Maria della Vittoria, Rome
  • Loggia of the Founders (1647–1652) Marble, Cappella Cornaro, Santa Maria della Vittoria, Rome
  • Memorial to Maria Raggi (1647–1653) Gilt bronze and coloured marble, Santa Maria sopra Minerva, Rome
  • Bosom of Urban 8 Marble, Basilica di San Pietro, Vatican Urban center
  • Fontana dei Quattro Fiumi (1648–1651) Travertine and marble, Piazza Navona, Rome
  • Corpus (1650) Bronze, Art Gallery of Ontario, Toronto, Canada.
  • Daniel and the King of beasts (1650) Marble, Santa Maria del Popolo, Rome
  • Francesco I d'Este (1650–1651) Marble, height 107 cm, Galleria Estense, Modena
  • Fountain of the Moor (1653–1654) Marble, Piazza Navona, Rome
  • Constantine (1654–1670) Marble, Palazzi Pontifici, Vatican City
  • Daniel and the Panthera leo (1655) Terracotta, top 41.six cm, Museo Sacro, Musei Vaticani, Vatican City
  • Habakkuk and the Angel (1655) Terracotta, acme 52 cm, Museo Sacro, Musei Vaticani, Vatican City
  • Altar Cantankerous (1657–1661) Gilt bronze corpus on bronze cantankerous, acme: corpus 43 cm, cross 185 cm, Treasury of San Pietro, State of the vatican city
  • Throne of Saint Peter (1657–1666) Marble, bronze, white and golden stucco, Basilica di San Pietro, Rome
  • Statue of Saint Augustine (1657–1666) Bronze, Basilica di San Pietro, The holy see
  • Saint Jerome (1661–1663) Marble, height 180 cm, Cappella Chigi, Duomo, Siena
  • Constantine (1663–1670) Marble with painted stucco drapery, Scala Regia, Vatican Palace, Rome
  • Bosom of Louis Fourteen (1665) White marble, meridian 105 cm, salon de Diane, Musée National de Versailles, Versailles
  • Elephant and Obelisk (erected 1667) Marble, Piazza di Santa Maria sopra Minerva, Rome
  • Standing Angel with Scroll (1667–1668) Clay, terra cotta, height: 29,two cm, Fogg Fine art Museum, Cambridge
  • Angel with the Crown of Thorns (1667–1669) Marble, over life-size, Sant'Andrea delle Fratte, Rome
  • Angel with the Superscription (1667–1669) Marble, over life-size, Sant'Andrea delle Fratte, Rome
  • Bust of Gabriele Fonseca (1668–1675) Marble, over life-size, San Lorenzo in Lucina, Rome
  • Equestrian Statue of Male monarch Louis XIV (1669–1670) Terra cotta, peak 76 cm, Galleria Borghese, Rome
  • Herm of St. Stephen, King of Hungary Statuary, Cathedral of Zagreb Treasury, Zagreb
  • Blessed Ludovica Albertoni (1671–1674) Marble, Cappella Altieri-Albertoni, San Francesco a Ripa, Rome
  • Tomb of Pope Alexander 7 (1671–1678) Marble and golden bronze, over life-size, Basilica di San Pietro, The holy see

Paintings

Bernini'southward activeness as a painter was a sideline which he did mainly in his youth. Despite this his piece of work reveals a certain and brilliant hand, gratuitous from any trace of pedantry. He studied in Rome nether his father, Pietro, and soon proved a precocious infant prodigy. His work was immediately sought after by major collectors.

  • Self-Portrait every bit a Young Homo (c. 1623) Oil on canvass, Galleria Borghese, Rome
  • Saint Andrew and Saint Thomas (c. 1627) Oil on sheet, 59 x 76 cm, National Gallery, London
  • Self-Portrait as a Mature Human being (1630–1635) Oil on sheet, Galleria Borghese, Rome
  • Portrait of a Male child (c. 1638) Oil on canvas, Galleria Borghese, Rome

Gallery

  • St. Peter's colonade

  • St. Peter's Square

  • St. Peter'due south baldachin

  • Ponte St. Angelo angels

  • Ecstasy of St. Theresa

  • Apollo and Daphne

  • Bust of Antonio Cepparelli

  • Bust of Pope Urban Eight

  • Self-portrait

References

  1. ^ Lavin, Irving (1980). Bernini and the Unity of the Visual Arts. New York: Oxford University Printing.
  2. ^ Hibbard, Howard (1965). Bernini. New York: Penguin. p. 136.
  3. ^ Mileti, Nick J. (2005). Beyond Michelangelo: The deadly rivalry between Bernini and Borromini. Philadelphia: Xlibris Corporation.
  4. ^ Morrissey, Jake (2005). Genius in the Pattern: Bernini, Borromini and the rivalry that transformed Rome. New York: Harper Perennial.
  5. ^ Hibbard, Howard (1965). p. 68.
  6. ^ Gallery.ca
  7. ^ Gale, Thomson. Gian Lorenzo Bernini Encyclopedia of Globe Biography, 2004. For listing of Bernini'due south siblings, run across Franco Mormando, Bernini: His Life and His Rome (Chicago: Academy of Chicago Press, 2011), pp. 2-3.
  8. ^ For Bernini'south matrimony to Caterina, and a list of Bernini's children, see Franco Mormando, Bernini: His Life and His Rome (University of Chicago Press, 2011, pp.109-116.
  9. ^ Gianlorenzo Bernini
  10. ^ See Gould, Cecil. Bernini in France, an episode in Seventeenth Century History, Weidenfeld and Nicolson, London, 1981
  11. ^ Meet Marder, Tod A. Bernini and the Art of Architecture Abbeville Printing, New York and London, 1998
  12. ^ Run across McPhee, Sarah. Bernini and the bong towers: architecture and politics at the Vatican, Yale University Press, 2002
  13. ^ Magnuson Torgil, Rome in the Historic period of Bernini, Volume II, Almqvist & Wiksell, Stockholm, 1986: 202
  14. ^ Probably made in collaboration with Lebrun and Le Vau, Blunt, Anthony. Architecture in French republic 1500–1700, Pelican History of Art, 1953, p. 232
  15. ^ Blunt, Anthony. Guide to Baroque Rome, Granada, 1982, p. 166
  16. ^ This was dismantled in the nineteenth century and reassembled (incorrectly) in the twentieth in the Via Veneto. A second Fontana delle Api in the Vatican has sometimes been attributed to Bernini of which Blunt has written, "Borromini is documented as having carved the fountain in 1626, simply it is non sure whether he made the blueprint for information technology, and it has also been attributed—not very plausibly—to Bernini." Edgeless, Anthony. Borromini, Belknap Harvard, 1979, 17
  17. ^ "Biographies – Gian Lorenzo Bernini", National Gallery of Canada , http://www.gallery.ca/bernini/en/bernini.htm , retrieved 29 October 2009
  18. ^ Triple Portrait of Charles I
  19. ^ Lionel Cust (31 March 2007). Van Dyck. Wellhausen Printing. p. 94. ISBN 978-1-4067-7452-eight. http://books.google.com/books?id=Ay9zMlAZG9cC&pg=PA94 . Retrieved xix Apr 2012.
  20. ^ Heckscher, W. Bernini's Elephant and Obelisk, Art Bulletin, XXIX, 1947, p. 155.
  21. ^ This chestnut regarding the Elephant and Obelisk monument (more formally, information technology is a monument to Divine Wisdom) is ane of the many undocumented popular legends circulating about Bernini. In truth of fact, Fr. Giuseppe Paglia was director of the overall project to reconstruct the piazza in front end of Santa Maria Minerva, appointed by Pope Alexander VII and, every bit such, had supervisory authority over Bernini and the design of his Elephant and Obelisk monument. The final design of that monument in fact owes much to Paglia'south direct intervention. Hence, information technology is unlikely that Paglia would accept allowed this supposed insult to him or his Dominican order: meet Franco Mormando, ed. and trans., Domenico Bernini's Life of Gian Lorenzo Bernini (University Park: Penn State Academy Press, 2011), p. 369, n. 33.
  22. ^ For a list and discussion of important sources for Bernini'due south life, see Franco Mormando, Bernini: His Life and His Rome (Chicago: Academy of Chicago Press, 2011), pp. 7-11.
  23. ^ For a translation of The Vita Brevis, see Domenico Bernini's Life of Gian Lorenzo Bernini in Mormando, ed., 201 Appendix ane, pp. 237-41.
  24. ^ Baldinucci, Filippo, Life of Bernini. Translated from the Italian by Enggass, C. University Park, Academy of Pennsylvania Printing, 2006
  25. ^ See Mormando, 2011, pp. 14–34.

Further reading

  • Bacchi, Andrea, ed. (2009). I marmi vivi: Bernini e la nascita del ritratto barocco. Firenze: Firenze musei.
  • Bacchi, Andrea, and Catherine Hess, Jennifer Montagu, ed. (2008). Bernini and the birth of Baroque portrait sculpture. Los Angeles: J. Paul Getty Museum.
  • Baldinucci, Filippo (1966). The life of Bernini. University Park: Pennsylvania Land University Press.
  • Baldinucci, Filippo (1682). Vita del cavaliere Gio. Lorenzo Bernino. Firenze: Stamperia di V. Vangelisti.
  • Bernini, Domenico (2011, orig. publ. 1713). Franco Mormando. ed. The Life of Giano Lorenzo Bernini. Academy Park: Penn State University Press.
  • Chantelou, Paul Fréart de (1985). Anthony Blunt. ed. Journal du voyage en French republic du cavalier Bernin. Princeton: Princeton University Press.
  • Coliva, Anna, ed. (2005). Bernini. Milano: Rizzoli.
  • Delbeke, Maarten, and Evonne Levy, Steven F. Ostrow, ed. (2006). Bernini's biographies: critical essays. University Park: Pennsylvania State University Press.
  • Fagiolo Dell'Arco, Maurizio (1967). Bernini: una introduzione al gran teatro del barocco. Roma: M. Bulzoni.
  • Ferrari, Oreste (1991). Bernini. Firenze: Giunti Gruppo.
  • Fraschetti, Stanislao (1900). Il Bernini: la sua vita, la sua opera, il suo tempo. Milano: U.Hoepli.
  • Gould, Cecil (1981). Bernini in French republic: an episode in seventeenth-century history. London: Weidenfeld and Nicolson.
  • Lavin, Irving (1980). Bernini and the unity of the visual arts. New York: Oxford University Press.
  • Lavin, Irving, ed. (1985). Gianlorenzo Bernini: new aspects of his art and thought (a commemorative volume). University Park: Pennsylvania State University Press.
  • Lavin, Irving (2007). Visible spirit: the art of Gianlorenzo Bernini. London: Pindar Press.
  • Martinelli, Valentino, ed. (1996). 50'ultimo Bernini (1665-1680): nuovi argomenti, documenti e immagini. Roma: Quasar.
  • Mormando, Franco (2011). Bernini: His Life and His Rome. Chicago: University of Chicago Press.
  • Petersson, Robert T. (1970). The fine art of ecstasy: Teresa, Bernini, and Crashaw. London: Routledge & 1000. Paul.
  • Petersson, Robert T. (2002). Bernini and the excesses of art. Florence: Maschietto editore.
  • Wittkower, Rudolf (1955). Gian Lorenzo Bernini: the sculptor of the Roman Baroque. London: Phaidon Press.

External links

  • Checklist of Bernini's compages and sculpture in Rome
  • Excerpts from The life of the Cavaliers Bernini
  • Gian Lorenzo Bernini in the "A World History of Art"
  • Excerpt on Bernini from Simon Schama's The Power of Art
  • Photographs of Bernini'south Santa Maria Assunta
  • smARThistory: Ecstacy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome
  • Virtual tour of Rome visiting Bernini'south central works
  • List and word of the most recent scholarly discoveries regarding Bernini'due south biography and works
Persondata
Proper noun Bernini, Gian Lorenzo
Alternative names
Short description Italian painter
Appointment of nativity 7 December 1598
Place of birth Naples, Kingdom of Naples, in nowadays-solar day Italia
Date of expiry 28 November 1680
Identify of death Rome, Papal States, in present-solar day Italia

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Source: http://dictionary.sensagent.com/Gian%20Lorenzo%20Bernini/en-en/

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