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GIANLORENZO BERNINI (Self Portrait, age 25)  Born December 7, 1598  Naples, Italy
BERNINI 1609: Gianlorezno carves  a portrait bust that is so  impressive that the Pope  asks that the boy be  brought to him. He asks  the boy to sketch a head  of St. Paul, and is so  awed by the boy’s talent  that he decides the child’s  education and training are matters of utmost  importance. He entrusts  the child to a noted  patron, Cardinal Maffeo  Barberini, with the hope  that the boy will become  “ the Michelangelo of our  century.” Pope Paul V by Guido Reni
BERNINI 1623: Maffeo Barberini  assumes the papacy as  Pope Urban VIII Pope Urban VIII  by Bernini (for the Pope’s tomb in St. Peter’s)
BERNINI “ Ecstatic Baroque” (“High Baroque”)  “ Catholic Restoration”
BERNINI Mary Magdelene, 1661
BERNINI St. Jerome, 1661
BERNINI Ecstasy of St. Teresa, 1645-52 (Cornaro  Chapel, Sta. Maria  della Vittoria, Rome)
BERNINI Death of the Blessed Lucdovica Albertoni, 1674 (Altieri Chapel, San Francisco a Ripa, Rome)
“ ECSTATIC BAROQUE” Ecstasy of St. Margaret of  Cortona by Gionvanni Lanfranco
BERNINI Bernini: received over 30  commissions from Urban VIII, and several official  posts including, at the age  of 30, Architect of St.  Peter’s.
BERNINI: ST. PETER’S
BERNINI: ST. PETER’S    Baldacchino  Baldacchino: begun in 1624  (when Bernini was 25).  Ninety-five foot bronze  canopy directly under the dome over the crossing and directly over supposed burial site of St. Peter at the crossing of the basilica
BERNINI: ST. PETER’S--Baldacchino (1624-33)
BERNINI: ST. PETER’S—Crossing (Saints and relics)
BERNINI: ST. PETER’S—Cathedra Petri    Cathedra Petri  (“Peter’s Chair”): visible upon entering the  church and framed by the  columns of the  Baldacchino.
Cathedra Petri: a  hollow reliquary— encased by Bernini  within is an old wooden  chair believed to have  been used by St. Peter, making it the first papal  throne (in fact, tests  of the wood it dates only from the 8 th  or  9 th  century). BERNINI: ST. PETER’S—Cathedra Petri (1657-66)
BERNINI: ST. PETER’S—Interior (tombs) Tomb of Pope  Urban VIII
BERNINI: ST. PETER’S—Interior (tombs) Tomb of Pope  Alexander VII  (1678-79)
BERNINI: ST. PETER’S—Piazza St. Peter’s (1656-67)  Piazza St. Peter’s:  creates a large,  open space where  250,000 people  can gather to  receive the pope’s  blessing from  either the basilica  or the Vatican  Palace directly to  the north.
BERNINI: ST. PETER’S—Constantine in Scala Regia  Scala Regia   (Royal Staircase)  Scala Regia: private  entrance used by the  pope to go between St. Peter’s and the Vatican. Bernini redesigned the  steps so they would be  less steep and more  regular, and sculpted  a statue of Constantine placed in the passage way leading directly  into the church.
BERNINI: ST. PETER’S—Constantine in Scala Regia
BERNINI: ARCHITECTURE—Projects in Rome (Fountains)  Fountain of  the Four Rivers  (Piazza Navona; 1651): allegories  of the four  continents/  corners of the  earth.
BERNINI: PORTRAIT SCULPTURE, SCULPTED BUSTS Francesco d’Este,  Duke of Modena 1650s: flowing hair,  billowing robe or  cloak

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Class 5 Review

Hinweis der Redaktion

  1. father warned when gian only 8 that he would soon surpass him
  2. around time bernini doing these precocious sculptures, his old protector and tutor, barberini, becomes pope—a great patron, conneusuer, intellectual, will bring about his own kind of renaissance in rome, with bernini now as his point man.
  3. the style that will prosper right up bernini’s alley with his penchant for dramatic, visceral, flamboyant scenes, kind of like a christinaized version of this same style, in arch, sculpture and painting, sometimes called ecstatic baroque
  4. will evolve quickly and by an early age under those guys supervision some of not only his own finest masterpieces, but some of the finest masterpieces anyone has ever produced in stone, ironically many of pagan themes not christian, but guys like borghese big admirers and collectors of ancient art also
  5. will evolve quickly and by an early age under those guys supervision some of not only his own finest masterpieces, but some of the finest masterpieces anyone has ever produced in stone, ironically many of pagan themes not christian, but guys like borghese big admirers and collectors of ancient art also
  6. and the most famous of all—the most ecstatic, perhaps most simply ecstatic statue ever carved. tough, having sex with god, and combo, like installation
  7. even when working on a secular tomb, this sense of intense ecstasy, as if the agonies of the death bed themselves has been turned into an ecstatic glimpse of paradise
  8. infl. on bernini, esp.the pose of teresa
  9. pope encouraged him to study architecture. really changes face of both st. peter’s and rome.
  10. 600 foot nave
  11. baladachino sometimes called world’s first baroque monument
  12. baladachino sometimes called world’s first baroque monument
  13. relics no longer encased, now in a chapel and displayed only during lent
  14. baladachino sometimes called world’s first baroque monument
  15. baladachino sometimes called world’s first baroque monument
  16. very late, one of last works—problem, not orig intended for st. peter’s, and when they decided to put it there, gave him a very awkward placement, rightover a door, wound up coming upwith a very novel solution, sculpts around the door to kind of turn it into something that looks like the door of a tomb,, with a skeleton with an hour glass as a momento mori
  17. very late, one of last works—problem, not orig intended for st. peter’s, and when they decided to put it there, gave him a very awkward placement, rightover a door, wound up coming upwith a very novel solution, sculpts around the door to kind of turn it into something that looks like the door of a tomb,, with a skeleton with an hour glass as a momento mori
  18. comes up with an ingenious plan that has become one of the most recognizable landmarks in the world—serves notjust to create a space to congregate. but also enhances façade of church—plan of two enveloping arms.
  19. center piece is this old eg obelisk—so this peter symbolism, although thismay have actually been justa justification to add an element that would not only provide a focal point, but one that was seemed tall and elegant in a piazza which was deliberately broad and squat.
  20. center piece is this old eg obelisk—so this peter symbolism, although thismay have actually been justa justification to add an element that would not only provide a focal point, but one that was seemed tall and elegant in a piazza which was deliberately broad and squat.
  21. on left are some of the originals
  22. this is an innovation in look he comes up with in 1650s, to make it more dramatic, very popular