Baroque Bernini

Total Page：16

File Type：pdf, Size：1020Kb

Bernini Born in Naples,Bernini was an exceptional talent from an early age and went on to dominate the art world of 17th century Rome. His work epitomised the Baroque style and his sculpture, church interiors and exteriors and town planning could be seen everywhere. He was also a painter, playwright, costume and theatre designer. Bernini worked under successive Popes; Pope Gregory XV made him a knight and Pope Urban VIII took him as his best friend. He was revered in his time until a jealous rage caused him to have the face of his mistress slashed after discovering her romance with his brother. His reputation fell further after his bell towers for the Cathedral of St Peter's started cracking in 1641. He redeemed himself and kick started his career again with arguably his most famous work, The Ecstasy of St Theresa, in 1652. Simon Schama on Bernini "A century after the creation of The Ecstacy of St Theresa, a French art lover doing the Tour of Rome entered the Church of S. Maria della Vittoria in Rome, peered at the spectacle and said: "Well, if that's divine love, I know all about it". What Bernini's managed to make tangible is something that we all, if we're honest, know we hunger for, but before which we're properly tongue-tied. Something that has produced more bad writing, more excruciating moments of bad cinema, more appalling poems than anything else. No wonder when art historians look at this sculpture they tie themselves in knots to avoid saying the obvious, Giovanni Lorenzo Bernini, Ecstasy of St Theresa, 1652 (Marble) that is, that we're looking at the most intense convulsive drama of the body that any of us experience.” Make a Sketch of Bernini’s David Name:__________ Use Line, Proportion and Detail throughout your drawing. Michelangelo, David, 1504, Marble. Bernini, David, Rome, 1660. Bernini, David, Rome, 1660. K/U List one difference between Bernini’s Davidfrom 1660 and Michelangelo’s David from 1504. Use of Line, Proportion & Detail: /12.

Copy Link

Recommended publications

Process: the Example of the Sleeping Hermaphrodite
BARRY X BALL: REMAKING SCULPTURE Process: The Example of the Sleeping Hermaphrodite Barry X Ball reinvents traditional sculptural formats and existing art historical landmarks using state-of-the-art 3D scanning technology, computer-aided design (CAD) software, and computer- numerically-controlled (CNC) milling machines, in combination with centuries-old craft techniques requiring thousands of hours of detailed handwork. The Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Louvre Museum in Paris offered an ideal starting point for Ball’s artistic explorations. Not only is the subject an embodiment of duality (see the object label and exhibition catalogue for more information on this), the object is a composite work of art interpreted by numerous authors over centuries. The figure is a second-century CE Roman copy of a second-century BCE Greek original. Discovered near the Baths of Diocletian in Rome in 1608, it joined the distinguished collection of Cardinal Scipione Borghese, who, in 1619, commissioned the young Gian Lorenzo Bernini to carve the mattress for it and David Larique to restore the figure. Ball continues this engagement with the work in the 21st century, reconsidering it for a contemporary audience and using the technological tools at his disposal. The illustrated review that follows elucidates the multi-step process Ball undertakes in making his Masterworks, like Sleeping Hermaphrodite. Ball works with museums to make extremely high-resolution three-dimensional digital scans of works of art. Because of their microscopic detail, the scans are very useful to the institutions charged with preserving the sculpture. Ball donates the scans to the museums for documentation and conservation and uses them Digital scanning of Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Salle des Caryatids, as his point of departure for creating a new work.
[Show full text]
1. Compare and Contrast the High Renaissance Period with the Baroque Period
Preliminary Handout: David and Goliath Summarize the story of David and Goliath: How is David significant in Medici Florence? High Renaissance Period The Baroque Period Dates of the period: Dates of the period: Locations: Locations: Influences on the period: Influences on the period: Stylistic Characteristics: Stylistic Characteristics: Compare Donatello's David, Michelangelo's David, and Bernini’s David Donatello's David Michelangelo's David Bernini’s David Date Period Material Height Nude? Contrapposto? Moment in story: David represents... Original location: Stylistic Characteristics: Short Answer Essays: Please write a concise paragraph essay answering each of the questions below. You will work in groups and do a short two-minute presentation to the class on one question. 1. Compare and contrast the High Renaissance period with the Baroque period. What are the important influences and stylistic differences? 2. What are the primary defining elements of Italian Baroque sculpture and architecture? Select one Baroque sculpture and one Baroque building in Italy and discuss how they exemplify the style. 3. Compare and contrast Donatello, Michelangelo, and Bernini's David. How does each work embody the stylistic principles of its age? 4. Describe Bernini's Apollo and Daphne. What moment does it depict in Ovid's myth? Why would the Church approve of such a work? 5. How has Bernini drawn from his knowledge of theater, writing plays, and producing stage designs to create an emotionally dramatic experience for worshipers that involve architecture, sculpture, and painting at the Cornaro chapel? 6. How is Gianlorenzo Bernini’s work typical of the Baroque period? Give several examples of his work that support your answer.
[Show full text]
Multidisciplinary Research
MULTIDISCIPLINARY RESEARCH MULTIDISCIPLINARY RESEARCH Abstracts of XIV International Scientific and Practical Conference Bilbao, Spain December 21 – 24, 2020 MULTIDISCIPLINARY RESEARCH Library of Congress Cataloging-in-Publication Data UDC 01.1 The XIV International scientific-practical conference “Multidisciplinary research”, December 21 – 24 –, 2020, Bilbao, Spain. 524 p. ISBN - 978-1-63684-350-6 DOI - 10.46299/ISG.2020.II.XIV EDITORIAL BOARD Professor of the Department of Criminal Law and Criminology Pluzhnik Elena Odessa State University of Internal Affairs Candidate of Law, Associate Professor Scientific and Research Institute of Providing Legal Framework for Liubchych Anna the Innovative Development National Academy of Law Sciences of Ukraine, Kharkiv, Ukraine, Scientific secretary of Institute Department of Accounting and Auditing Kharkiv Liudmyla Polyvana National Technical University of Agriculture named after Petr Vasilenko, Ukraine Candidate of Economic Sciences, Associate Professor of Mushenyk Iryna Mathematical Disciplines , Informatics and Modeling. Podolsk State Agrarian Technical University Oleksandra Kovalevska Dnipropetrovsk State University of Internal Affairs Dnipro, Ukraine Odessa State University of Internal Affairs, Prudka Liudmyla Associate Professor of Criminology and Psychology Department Slabkyi Hennadii Doctor of Medical Sciences, Head of the Department of Health Sciences, Uzhhorod National University. Ph.D. in Machine Friction and Wear (Tribology), Associate Professor of Department of Tractors and Agricultural Machines, Marchenko Dmytro Maintenance and Servicing, Lecturer, Deputy dean on academic affairs of Engineering and Energy Faculty of Mykolayiv National Agrarian University (MNAU), Mykolayiv, Ukraine Harchenko Roman Candidate of Technical Sciences, specialty 05.22.20 - operation and repair of vehicles. MULTIDISCIPLINARY RESEARCH TABLE OF CONTENTS AGRICULTURAL SCIENCES 1. Lykhovyd P., Biliaieva I., Lavrenko S. 17 APPLICATION OF PLANT GROWTH REGULATOR REGOPLANT ON VEGETABLE CROPS 2.
[Show full text]
Michelangelo's David-Apollo
Michelangelo’s David-Apollo , – , 106284_Brochure.indd 2 11/30/12 12:51 PM Giorgio Vasari, Michelangelo Michelangelo, David, – Buonarroti, woodcut, from Le vite , marble, h. cm (including de’ più eccellenti pittori, scultori e base). Galleria dell’Accademia, architettori (Florence, ). Florence National Gallery of Art Library, Washington, Gift of E. J. Rousuck The loan of Michelangelo’s David-Apollo () from a sling over his shoulder. The National Gallery of Art the Museo Nazionale del Bargello, Florence, to the owns a fteenth-century marble David, with the head of National Gallery of Art opens the Year of Italian Culture, Goliath at his feet, made for the Martelli family of Flor- . This rare marble statue visited the Gallery once ence (. ). before, more than sixty years ago, to reafrm the friend- In the David-Apollo, the undened form below the ship and cultural ties that link the peoples of Italy and right foot plays a key role in the composition. It raises the United States. Its installation here in coincided the foot, so that the knee bends and the hips and shoul- with Harry Truman’s inaugural reception. ders shift into a twisting movement, with the left arm The ideal of the multitalented Renaissance man reaching across the chest and the face turning in the came to life in Michelangelo Buonarroti ( – ), opposite direction. This graceful spiraling pose, called whose achievements in sculpture, painting, architecture, serpentinata (serpentine), invites viewers to move and poetry are legendary (. ). The subject of this around the gure and admire it from every angle. Such statue, like its form, is unresolved.
[Show full text]
Qt7hq5t8mm.Pdf
UC Berkeley Room One Thousand Title Water's Pilgrimage in Rome Permalink https://escholarship.org/uc/item/7hq5t8mm Journal Room One Thousand, 3(3) ISSN 2328-4161 Author Rinne, Katherine Publication Date 2015 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Katherine Rinne Illustration by Rebecca Sunter Water’s Pilgrimage in Rome “If I were called in To construct a religion I should make use of water.” From Philip Larkin, “Water,” 1964 Rome is one of the world’s most hallowed pilgrimage destinations. Each year, the Eternal City’s numinous qualities draw millions of devout Christians to undertake a pilgrimage there just as they have for nearly two millennia. Visiting the most venerable sites, culminating with St. Peter’s, the Mother Church of Catholicism, the processional journey often reinvigorates faith among believers. It is a cleansing experience for them, a reflective pause in their daily lives and yearly routines. Millions more arrive in Rome with more secular agendas. With equal zeal they set out on touristic, educational, gastronomic, and retail pilgrimages. Indeed, when in Rome, I dedicate at least a full and fervent day to “La Sacra Giornata di Acquistare le Scarpe,” the holy day of shoe shopping, when I visit each of my favorite stores like so many shrines along a sacred way. Although shoes are crucial to our narrative and to the completion of any pilgrimage conducted on Opposite: The Trevi Fountain, 2007. Photo by David Iliff; License: CC-BY-SA 3.0. 27 Katherine Rinne foot, our interest in this essay lies elsewhere, in rededicating Rome’s vital role as a city of reflective pilgrimage by divining water’s hidden course beneath our feet (in shoes, old or new) as it flows out to public fountains in an otherwise parched city.
[Show full text]
Donatello, Michelangelo, and Bernini: Their
DONATELLO, MICHELANGELO, AND BERNINI: THEIR UNDERSTANDING OF ANTIQUITY AND ITS INFLUENCE ON THE REPRESENTATION OF DAVID by Kathryn Sanders Department of Art and Art History April 7, 2020 A thesis submitted to the Honors Council of the University of the Colorado Dr. Robert Nauman honors council representative, department of Art and Art History Dr. Fernando Loffredo thesis advisor, department of Art and Art History Dr. Sarah James committee member, department of Classics TABLE OF CONTENTS INTRODUCTION…………………………………………………..……………….……………1 Chapter I: The Davids…………………………………………………..…………………5 Chapter II: Antiquity and David…………………………………………………………21 CONCLUSION………………...………………………………………………………………...40 BIBLIOGRAPHY………………………………………………………………………………..58 LIST OF FIGURES Figure 1: Donatello, David, 1430s……………………………………………………………….43 Figure 2: Michelangelo, David, 1504……………………………………………………………44 Figure 3: Bernini, David, 1624…………………………………………………………………..45 Figure 4: Donatello, David, 1408-1409………………………………………………………….46 Figure 5: Taddeo Gaddi, David, 1330…………………………………………………………...47 Figure 6: Donatello, Saint Mark, 1411…………………………………………………………..48 Figure 7: Andrea del Verrocchio, David, 1473-1475……………………………………………49 Figure 8: Bernini, Monsignor Montoya, 1621-1622……………………………………………..50 Figure 9: Bernini, Damned Soul, 1619…………………………………………………………..51 Figure 10: Annibale Carracci, Polyphemus and Acis, 1595-1605……………………………….52 Figure 11: Anavysos Kouros, 530 BCE………………………………………………………….53 Figure 12: Polykleitos, Doryphoros, 450-440 BCE……………………………………………..54 Figure 13: Praxiteles, Hermes and Dionysus, 350-330 BCE…………………………………….55 Figure 14: Myron, Discobolus, 460-450 BCE…………………………………………………...56 Figure 15: Agasias, Borghese Gladiator, 101 BCE……………………………………………...57 Introduction “And there came out from the camp of the Philistines a champion named Goliath, of Gath, whose height was six cubits and a span. He had a helmet of bronze on his head, and he was armed with a coat of mail; the weight of the coat was five thousand shekels of bronze.
[Show full text]
Chapter 14.Key
Chapter 14: The Seventeenth Century: The Baroque Era Culture and Values, 8th Ed. Cunningham and Reich and Fichner-Rathus Identify the major features of the Baroque period The Counter-Reformation Spirit ■ Council of Trent (1545-1563) ■ Redefined doctrines, reaffirmed dogmas ■ Assertion of discipline, education ■ New artistic demands, purpose ■ Society of Jesus, Jesuits ■ Ignatius Loyola (1491-1556) ■ Missionaries, educational improvement Seventeenth-Century Baroque ■ Decentralized styles ■ Art for the middle-class ■ Rich, ornate, elaborate, fanciful ■ Emotionalism ■ Psychological exploration ■ New techniques, virtuosity Baroque Style • grand size or spectacular – to impress • elaborate ornamentation (or metaphors) – sometimes called “conceits” in literature and drama • dramatic use of light in painting • illusionism • intense emotion – affections in music List the major features and figures in Baroque art and architecture in Italy 14.4 Saint Peter’s façade, Rome, Italy ! smart history link The Baroque Period in Italy Baroque Sculpture and Architecture in Rome Gian Lorenzo Bernini (1598-1680) ■ Chief architect of Counter-Reformation ■ Fountains, palaces, churches ■ Conflict with Borromini ■ Religious-themed sculptures ■ Baldacchino ■ David (1623) ■ The Ecstasy of Saint Teresa (1645-1652) 14.6 Gian Lorenzo Bernini, Baldacchino, 1624-1633 ! smart history link 14.7 Gian Lorenzo Bernini, David, 1623 ! smart history link Art in the Baroque Italy Bernini’s David Michelangelo’s David note the “action”; intense emotion seems calm, in repose, relaxed 14.8 Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy smart history link The Baroque Period in Italy Painting in Rome Caravaggio (1573-1610) ■ Dramatic naturalism, realism ■ Brutal, pessimistic ■ Emotional, psychological ■ Tenebrism ■ The Calling of St.
[Show full text]
Why the Art World Is Focusing in on Gender Fluidity
Why the Art World is Focusing In on Gender Fluidity Painting by Christina Quarles by Arthur Lubow June 4, 2018 In 1982, when Dan Cameron, then a young curator, was putting together a New Museum exhibition on contemporary gay artists, he was warned—mostly by other gay men—that he was committing career suicide. “The idea that anybody would be out as an artist was unthinkable,” Cameron recalls. “You were not allowed to point to a person’s artwork and say it was closely related to a sexual sensibility.” Cameron’s exhibition is said to have been the first institutional one of its kind. The participants he managed to enlist were for the most part just starting out, with relatively little to lose; and even the curator, by his own later admission, pulled his punches. “I found that I, too, was not immune to internalized homophobia, in that I let other people’s fears and paranoia inhibit me,” he says. “I was censoring myself. A kind of eroticism was not possible; nudity was not at all possible; and that lesbians could have sexual, and not just metaphorical, relationships wasn’t possible either.” Beyond boundaries: David Hockney’s early work Cleaning Teeth, Early Evening (10 PM) W11, 1962 Painting by David Hockney How the cultural fault lines have shifted. In the Michelangelo and David Hockneyblockbuster shows at the Metropolitan Museum of Art, in New York, last winter, the artists’ gay orientation was highlighted by the curators as a way to further the understanding of their work. Soon thereafter, two edgy queer artists who enjoyed a cult reputation during their lifetimes were finally being given recognition: Peter Hujar, with 143 photographs now on view at the Morgan Library & Museum, and his close friend David Wojnarowicz, the subject of a full-scale retrospective that opens at the Whitney Museum of American Art in July.
[Show full text]
Bernini Struts
Part II Material and Social Transformations 3 Bernini Struts Michael Cole Few works in the history of sculpture are more admired for the sheer skill of their carving than Gianlorenzo Bernini’s Apollo and Daphne (figure 3.1). Charles Avery counts it among the pieces that established Bernini as ‘‘the greatest sculptor in the world.’’1 Peter Rockwell maintains that ‘‘any sculptor who looks at Bernini’s Apollo and Daphne can only come away astonished.’’2 And Howard Hibbard concludes his discussion of the statue by suggesting that it is too dazzling, showing ‘‘a quality of immature excess, of virtuosity for its own sake.’’3 The Apollo and Daphne has come to stand as the perfect antithesis to the modernist principle of ‘‘truth to materials,’’ the ultimate illustration of the artist defying his medium’s very nature. Indeed, it has become difficult, in view of the Apollo and Daphne, to imagine what Bernini could not make marble do. No wonder Jennifer Montagu caused a small sensation when she argued that its most famous features were executed by Bernini’s gifted assistant Giuliano Finelli rather than by the master himself.4 Bernini began the Apollo and Daphne in 1622 and had largely completed it by 1624, the last year of his employment with Cardinal Scipione Borghese. Roughly contemporary with the sculptor’s David (1623–4) and still standing in the building for which it was made, it represents the culmination of a series of works that, as Rudolf Preimesberger sug- gested in a classic article, ask to be measured collectively against a sixteenth-century, largely Florentine, tradition.5 The Apollo and Daphne and the other statues Bernini made for the Cardinal were collectors’ pieces, appealing explicitly to a cultivated audience with a historical sensibility and a keen awareness of sculptural practice.
[Show full text]
The Original Documents Are Located in Box 16, Folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 16, folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 16 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library 792 F TO C TATE WA HOC 1233 1 °"'I:::: N ,, I 0 II N ' I . ... ROME 7 480 PA S Ml TE HOUSE l'O, MS • · !? ENFELD E. • lt6~2: AO • E ~4SSIFY 11111~ TA, : ~ IP CFO D, GERALD R~) SJ 1 C I P E 10 NTIA~ VISIT REF& BRU SE 4532 UI INAl.E PAL.ACE U I A PA' ACE, TME FFtCIA~ RESIDENCE OF THE PR!S%D~NT !TA y, T ND 0 1 TH HIGHEST OF THE SEVEN HtL.~S OF ~OME, A CTENT OMA TtM , TH TEMPLES OF QUIRl US AND TME s E E ~oc T 0 ON THIS SITE. I THE CE TER OF THE PR!SENT QU?RINA~ IAZZA OR QUARE A~E ROMAN STATUES OF C~STOR ....
[Show full text]
Fontane E Piazze Di Roma
Fontane e piazze di Roma Fontana di Trevi Piazza di Spagna Piazza Montecitorio Piazza della rotonda e Pantheon Piazza Navona 1 FONTANA DI TREVI La fontana è stata disegnata nel 1732 dall’architetto Nicolò Salvi. La grande statua al centro della fontana rappresenta il dio del fiume Oceano; le due statue a destra e a sinistra rappresentano la Salubrità (salute) e l'Abbondanza. L’acqua che sgorga proviene dall’acquedotto romano dell’acqua vergine. I romani dicono che se lanci una moneta nell’acqua della fontana avrai fortuna. 2 PIAZZA DI SPAGNA TRINITA’ DE’ MONTI La grande scala di Trinità dei Monti, disegnata dagli architetti Alessandro Specchi e Francesco De Sanctis, è stata completata nel 1725. I 135 gradini della scalinata portano dalla piazza alla chiesa di Trinità dei Monti. In primavera e in estate moltissimi fiori fanno più bella la scalinata. La piazza ha la forma di una farfalla dalle ali triangolari i cui vertici coincidono con i piedi della scalinata. A destra della scalinata c’è la colonna dell’Immacolata. La colonna, alta 11 mt. con in cima la statua della Madonna. Alla base 4 statue : Mosè, Isaia, Ezechiele e David. 3 PIAZZA DI SPAGNA LA BARCACCIA LA BARCACCIA La fontana della Barcaccia a piazza di Spagna si chiama così perché ha la forma di una grande barca che affonda nell’acqua; questa barca ricorda una barca vera, arrivata sulla piazza nel 1598 dopo l’alluvione del fiume Tevere. La fontana è stata disegnata nel 1627 da Pietro Bernini e da suo figlio Gian Lorenzo. Le figure del sole e delle api sulla Barcaccia rappresentano la famiglia del papa Urbano VIII Barberini.
[Show full text]
Attachment A. Resume of David Raphael
ATTACHMENT A. RESUME OF DAVID RAPHAEL David Raphael, B.A., M.L.A. :: Principal/Landscape Architect & Planner EDUCATION PROFESSIONAL REGISTRATIONS M.L.A., Harvard University Graduate School of Design, • Registered/Licensed Landscape Architect - State of 1977 Cambridge, Massachusetts Rhode Island, Vermont B.A. in English, Tufts University, Cum Laude, Minor in • Passed Uniform National Examination: eligible for Ecology, 1972 Medford, Massachusetts registration in other states School of the Museum of Fine Arts, 1971, Boston, • Certified with the Professional Ski Instructors of Massachusetts America Diploma, Dartmouth College Outward Bound Program, 1970, Hanover, New Hampshire MEMBERSHIPS/COMMUNITY SERVICE EMPLOYMENT HISTORY, • Chair, Vermont Urban and Community Forestry PROFESSIONAL SKILLS, & DUTIES Council (VTUCFC) 1986-present: LandWorks, Middlebury, Vermont • Member, American Society of Landscape Architects • Founded the firm and has been Principal (ASLA) Landscape Architect & Planner for most of the • Member, American Planning Association (APA) company’s projects. • Member, Society of Environmental Graphic Designers 1984 - 1985: Alexander, Truex, deGroot, Architects, (SEGD) Burlington, Vermont • Consultant and staff, Landscape Architect/Planner • Member, Board of Trustees, Lake Champlain Land Trust 1980 - 1982: Kiley-Walker, Charlotte, Vermont • Fellow in Sustainability, University of Vermont • Associate Landscape Architect • Former Member, Board of Directors, Vermont State 1976 - 1979: Massachusetts Department of Environmental Craft
[Show full text]