Gian Lorenzo Bernini (born December 7, 1598—died November 28, 1680)

1. Gian Lorenzo Bernini (born December 7, 1598—died November 28, 1680)

2. BERNINI Giovanni Lorenzo Bernini (born December 7, 1598—died 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.

3. BERNINI continued… One of his works, the Apollo and Daphne (1622–24, 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.

4. 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: • Bernini’s style is characterized by the same things that define Baroque art in general (because he is the defining artist). • Architecture (reference St. Peter’s) • 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. • 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. GIAN LORENZO BERNINI, David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome.

5. 2. MICHELANGELO David1504Marble, height 434 cmGalleria 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 Analogy: “The merri-go-round is accelerating from early Renaissance to the Baroque.” COMPARE + CONTRAST

6. 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. Peter’s…he worked on this building all his life. GIANLORENZO BERNINI, Throne of St. Peter, Vatican City, Rome, Italy, 1657–1666.

7. 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 angel’s 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, 1645–1652. Marble, height of group 11’ 6”.

8. 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, Scala Regia, Vatican City, Rome, Italy, 1663–1666.

9. 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) GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, approx. 100’ high.

10. Image Discussion