(born December 7, 1598died November 28, 1680)

BERNINI

Giovanni Lorenzo Bernini (born December 7, 1598died November
28, 1680) was a pre-eminent Baroque sculptor and architect of
17th century Rome.

Gian Lorenzo Bernini dominated the Roman art world of the
seventeenth century, flourishing under the patronage of its
cardinals and popes while also challenging contemporary
artistic traditions. His sculptural and architectural projects
reveal an innovative interpretation of subjects, use of forms,
and combination of media. Forging a path for future artists, he
played an instrumental role in establishing the dramatic and
eloquent vocabulary of the Baroque style.

In contrast to his competitor Francesco Borromini, Bernini's
affable character allowed him to maintain good relations with
his patrons. A man of great faith, he attended mass daily and
practiced contemporary religious exercises. His abbreviated
caricatures of prominent figures, including Pope Innocent X,
expose a lighter side of his personality and a witty sense of
humor.

BERNINI continued

One of his works, the Apollo and Daphne (162224, Galleria
Borghese, Rome), illustrates the typically Baroque theme of
metamorphosis. Subtle variations in the texture of the marble
create the illusion of soft human flesh transforming into the
leaves and bark of a tree.

The statue of David (1623, Galleria Borghese, Rome) captures the
biblical hero in the climax of his action. Expanding upon
Michelangelo's fascination with the human body, Bernini added
torsion to create a dynamic figure that extends into the viewer's
space.

Several portrait busts that Bernini executed during this period,
including that of Cardinal Robert Bellarmine (1623-24), show a
new awareness of the relationship between head and body and
display an ability to depict fleeting facial expressions with acute
realism. These marble works show an unparalleled virtuosity in
carving to achieve the delicate effects usually found only in
bronze sculptures. Bernini's sensual awareness of the surface
textures of skin and hair and his novel sense of shading broke
with the tradition of Michelangelo and marked the emergence of
a new period in the history of Western sculpture.

I. GIAN LORENZO BERNINI

Bio:
Bernini was born in Naples & moved to Rome at a young age. Here
the young prodigy's capabilities were soon noticed by the painter
Annibale Carracci and by Pope Paul V, and blossomed into the
sculptor of Rome.
Style:
Berninis style is characterized by the same things that define
Baroque art in general (because he is the defining artist).
Architecture (reference St. Peters)
Sculpture (reference David, and St. Theresa)
Fountains of Rome (reference Four Rivers)
Marble portraiture
Bernini revolutionized marble busts. Created
glamorous dynamism in portraits that,
until now, have been portrayed in stony stillness. Immediate
poses, leaning out of the frame.





GIAN LORENZO BERNINI, David,
1623. Marble, approx. 5 7 high.
Galleria Borghese, Rome.
The Image: David
Violent, pivoting motion gives
the figure a dynamic quality.
Bursting energy that moves out
into the same physical space as
the observer.
Bernini shares the Hellenistic
view of unison of body and spirit,
motion and emotion.
Implied presence of Goliath-the
negative space is owned by the
sculpture.

2. MICHELANGELO
David
1504
Marble, height 434 cm
Galleria dell'Accademia,
Florence
3. BERNINI
David
1623-24
Marble, height 170 cm
Galleria Borghese, Rome

1. DONATELLO
David
c. 1430
Bronze, ht: 185 cm
Museo Nazionale,
Florence
COMPARE
+ CONTRAST

Analogy: The merri-go-round is accelerating from early Renaissance to the Baroque.
GIANLORENZO BERNINI, Throne
of St. Peter, Vatican City, Rome,
Italy, 16571666.



The Image: Throne of St. Peter
Bernini surrounds The Throne
of St. Peter with a burst of
heavenly light that propels all the
figures towards the viewer.
Bernini was honored with the task
of decorating the entire interior of
St. Petershe worked on this
building all his life.
The Image: Ecstasy of Saint Teresa

An ecstatic and radiant vision:

In the Cornaro Chapel, Bernini employed a
combination of architecture, sculpture, AND painting to
create an appropriate dramatic tension for the mystical
drama of the ecstasy of Saint Theresa.

The white marble group of swooning saint and
smiling angel appears to float as a vision might in the
cleverly illuminated central niche.

Sensuous visual experience.

Shows the moment where St. Teresa is pierced by an
angels arrow and felt both emotional pain and
sweetness at the same time.

Some outside (from above) force is blowing their
clothing.

Sculpture is connected compositionally with the rods
of light to the fresco directly above it


GIANLORENZO BERNINI, Ecstasy of
Saint Teresa, Cornaro Chapel, Santa Maria
della Vittoria, Rome, Italy, 16451652.
Marble, height of group 11 6.
GIANLORENZO BERNINI, Scala
Regia, Vatican City, Rome, Italy,
16631666.

The Image: Scala Regia

Stairway to Heaven:
The monumental Scala Regia built by Bernini
connects the papal apartments to the portico and
narthex of Saint Peter's.

The design illusionistically conceals the increasing
narrowness of the passageway as the stairway
ascends.
GIANLORENZO BERNINI, baldacchino,
Saint Peters, Vatican City, Rome, Italy,
16241633. Gilded bronze, approx. 100
high.


The Image: Baldacchino

A soaring bronze canopy:

Four spiral columns of
the gigantic bronze
baldacchino (a canopy of
columns built over an
alter) were erected by
Bernini over the main
altar.

They recall those of the
ancient baldacchino over
the same spot in Old Saint
Peter's.

100 FEET TALL (this is
the height of an average 8
story building)

QUESTION: What is the
significance of the BEES?
(hint: YOU MUST look up
and know Barbarini
patronage and connection
to Bernini)