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Bernini: the Sculptor of the Roman Baroque Free of Charge FREE BERNINI: THE SCULPTOR OF THE ROMAN BAROQUE PDF Rudolf Wittkower | 320 pages | 26 Sep 1997 | Phaidon Press Ltd | 9780714837154 | English | London, United Kingdom Gian Lorenzo Bernini - Wikipedia He produced designs as well for a wide variety of decorative art objects including lamps, tables, mirrors, and even coaches. As an architect and city planner, he designed secular buildings, churches, chapels, and public squares, as well as massive works combining both architecture and sculpture, especially elaborate public fountains and funerary monuments and a whole series of temporary structures in stucco and wood for funerals and festivals. His broad technical versatility, boundless compositional inventiveness and sheer skill in Bernini: The Sculptor of the Roman Baroque marble ensured that he would be considered a worthy successor of Michelangelofar outshining other sculptors of his generation. His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual whole has been termed by the late art historian Irving Lavin the "unity of the visual arts". Bernini was born in Naples in to Angelica Galante, a neapolitan woman, and Mannerist sculptor Pietro Berninioriginally from Florence. He was the sixth of their thirteen children. He was "recognized as a prodigy when he was only eight years old, [and] he was consistently encouraged by his father, Pietro. Several extant works, dating Bernini: The Sculptor of the Roman Baroque —, are by general scholarly consensus, collaborative efforts by both father and son: they include the Faun Teased by Putti c. Bernini was therefore presented before Pope Paul V, curious to see if the stories about Gian Lorenzo's talent were true. The boy improvised a sketch of Saint Paul for the marveling pope, and this was the beginning of the pope's attention on this young talent. Once he was brought to Rome, he rarely left its walls, except much against his will for a five-month stay in Paris in the service of King Louis XIV and brief trips to nearby towns including Civitavecchia, Tivoli and Castelgandolfomostly for work-related reasons. Bernini's works are therefore often characterized as perfect expressions of the spirit of Bernini: The Sculptor of the Roman Baroque assertive, triumphal but self-defensive Counter Reformation Roman Catholic Church. Certainly Bernini was a man of his times and deeply religious at least later in life[13] but he and his artistic production should not be reduced simply to instruments of the papacy and its political-doctrinal programs, an impression that is at times communicated by the works of the three most eminent Bernini scholars of the previous generation, Rudolf WittkowerHoward Hibbardand Irving Lavin. Under the patronage of the extravagantly wealthy and most powerful Cardinal Scipione Borghese, the young Bernini rapidly rose to prominence as a sculptor. Among his early works for the cardinal were decorative pieces for the garden of the Villa Borghesesuch as The Goat Amalthea with the Infant Jupiter and a Faun. This marble sculpture executed sometime before is generally considered by scholars to be the earliest work executed entirely by Bernini himself. Paul Getty Museum. Bernini's reputation, however, was definitively established by four masterpieces, executed between andall now displayed in the Galleria Borghese in Rome. To the art historian Rudolf Wittkower these four works— Aeneas, Anchises, and AscaniusThe Rape of Proserpina —22Apollo and Daphne —and David —24 —"inaugurated a new era in the history of European sculpture". Bernini's early sculpture groups and portraits manifest "a command of the human form in motion and a technical sophistication rivalled only by the greatest sculptors of classical antiquity. Unlike sculptures done by his predecessors, these focus on specific points of narrative tension in the stories they are trying to tell: Aeneas and his family fleeing the burning Troy; the instant that Pluto finally grasps the hunted Persephone; the precise moment that Apollo sees his beloved Daphne begin her transformation into a tree. They are transitory but dramatic powerful moments in each story. Bernini's David is another stirring example of this. Michelangelo's motionless, idealized David shows the subject holding a rock in one hand and a sling in the other, contemplating the battle; similarly immobile versions by other Renaissance artists, including Donatello's, show the subject Bernini: The Sculptor of the Roman Baroque his triumph after the battle with Goliath. Bernini illustrates David during his active combat with the giant, as he twists his body to catapult toward Goliath. To emphasize these moments, and to ensure that they were appreciated by the viewer, Bernini designed the sculptures with a specific viewpoint in mind. Their original placements within the Villa Borghese were against walls so that the viewers' first view was the dramatic moment of the narrative. The result of such an approach is to invest the sculptures with greater psychological energy. The viewer finds it easier to gauge the state of mind of the characters and therefore understands the larger story at work: Daphne's wide open mouth in fear and astonishment, David biting his lip in determined concentration, or Proserpina desperately struggling to free herself. In addition to portraying psychological realism, they show a greater concern for representing physical details. The tousled hair of Pluto, the pliant flesh of Proserpina, or the forest of leaves beginning to envelop Daphne all demonstrate Bernini's exactitude and delight for representing complex real world textures in marble form. Beginning inwith the ascent of his friend and former tutor, Cardinal Maffeo Barberinito the papal throne as Pope Urban VIII, Bernini enjoyed near monopolistic patronage from the Barberini pope and family. The new Pope Urban is reported to have remarked, Bernini: The Sculptor of the Roman Baroque is a great fortune for you, O Cavaliere, to see Cardinal Maffeo Barberini made pope, but our fortune is even greater to have Cavalier Bernini alive in our pontificate. His horizons rapidly and widely broadened: he was not just producing sculpture for private residences, but playing Bernini: The Sculptor of the Roman Baroque most significant artistic and engineering role on the city stage, as sculptor, architect, and urban planner. To great protest from older, experienced master architects, he, with virtually no architectural training to his name, was appointed Chief Architect of St Peter's inupon the death of Carlo Maderno. From then on, Bernini's work and artistic vision would be placed at the symbolic heart of Rome. Bernini's artistic pre-eminence, particularly during the reign of pope Urban VIII — and again under Pope Alexander VII —meant he was able to secure the most important commissions in the Rome of his day, namely, the various massive embellishment projects of the newly finished St. Within the basilica he was responsible for the Baldacchino, the decoration of the four piers under the cupola, the Cathedra Petri or Chair of St. Peter in the apse, the tomb monument of Matilda of Tuscany, the chapel of the Blessed Sacrament in the right nave, and the decoration floor, walls and arches of the new nave. The St Peter's Baldacchino immediately became the visual centerpiece of the new St. In the basilica, Bernini also began work on the tomb for Urban VIII, completed only after Urban's death inone in a long, distinguished series of tombs and funerary monuments for which Bernini is famous and a traditional genre upon which his influence left an enduring mark, often copied by subsequent artists. Peter's Basilica, represents, according to Erwin Panofsky, the very pinnacle of European funerary art, whose creative inventiveness subsequent artists could not hope to surpass. Despite this engagement with public architecture, Bernini was still able to produce artworks that showed the gradual refinement of his portrait technique. A number of Bernini's sculptures show the continual evolution of his ability to capture the utterly Bernini: The Sculptor of the Roman Baroque personal characteristics that he saw in his sitters. This included a number of busts of Urban VIII himself, the family bust of Francesco Barberini or most notably, the Two Busts of Scipione Borghese —the second of Bernini: The Sculptor of the Roman Baroque had been rapidly created by Bernini once a flaw had been found in the marble of the first. To Rudolf Wittkower the "beholder feels that in the twinkle of an eye not only might the expression and attitude change but also the folds of the casually arranged mantle". Portraits in marble include that of Costanza Bonarelli executed aroundunusual in its more personal, intimate nature in fact, it would appear to be the first fully finished marble portrait of a non-aristocratic woman by a major artist in European history. Bernini had an affair with Costanza, who was the wife of one of his assistants. When Bernini then suspected Costanza of involvement with his brother, he badly beat him and ordered a servant to slash her face with a razor. Beginning in the late s, now known in Europe as one of the most accomplished portraitists in marble, Bernini also began to receive royal commissions from outside Rome, for subjects such as Cardinal Richelieu of France, Francesco I d'Este the powerful Duke of Modena, Charles I of England and his wife, Queen Henrietta Maria. The sculpture of Charles I was produced in Rome from a triple portrait oil on canvas executed by Van Dyckthat survives today in the British Royal Collection. The bust of Charles was lost in the Whitehall Palace fire of though its design is known through contemporary copies and drawings and that of Henrietta Maria was not undertaken due to the outbreak of the English Civil War.
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