This paper discusses the continuity of technique and style in traditional sculpture, from Antiquity to the Baroque and Neo-Classical periods, specifically in the sculpture of Italians Gianlorenzo Bernini (1598-1680) and Antonio Canova (1757-1822).
Abstract This paper explains that the mythical antique sculptures initially seem to have more features in common than differences with those of Bernini from the Baroque era and Canova from the Neo-classic era; but, upon closer examination of Bernini's 'Apollo and Daphne' and Canova's 'Cupid and Psyche', they are steeped in the attitudes and values of their own periods. The author points out that Bernini's 'Apollo and Daphne' reflects the religious emotionalism and exuberant decorative richness that spread all over Europe from Rome, while Canova's 'Cupid and Psyche' demonstrates the fusion of Christian values and Eighteenth century sensibility. The paper relates that, in classical art, the greatly prized qualities of nobility, grace, beauty, supreme physical strength, virtuosity and heroism is expressed in sculpture: Bernini and Canova seem to use the Antique period as an inexhaustible source of human qualities and emotions.
From the Paper "Bernini's 'Apollo and Daphne' exemplifies sculpture from the Baroque period, and Canova's 'Cupid and Psyche' is a prime example of Neo-Classical sculpture. The very title 'Neo-Classical' suggests a strong identification with ancient art, but the movement was perhaps more of a reaction against the Baroque style. It sought to combine Christianity with the general sentiments and principles of the time. The Neo-Classicists condemned Baroque art for its excessive detail and lack of 'meaning'. John Flaxman once criticised the extravagance of Baroque sculpture, describing it as all about 'twisted heads, full bodies, fluttering draperies; all wrists and ankles and bombastic attitudes'. In comparison to Bernini's Daphne and Apollo', Canova's 'Cupid and Psyche' is an unadorned sculpture."
Abstract This paper compares one of the greatest works of renaissance art, Michelangelo's "Pieta," with a superb example of the complexity of baroque art, Bernini's "Saint Teresa in Ecstasy." The writer explains the Neo-Platonist and humanist influences on Michelangelo and his "Pieta," and describes the sculpture in its moving simplicity in detail. The writer then explains how Bernini's statue combines the baroque emotion with counter-reformation mysticism. The paper concludes that both Michelangelo and Bernini were masters of their craft, bringing life to cold marble and bronze, with different styles of expressing their veneration for God.
From the Paper "However, apart from earlier religious works, Michelangelo's sculpture had an unmistakable air of humanism. A recurring theme in renaissance art, humanism was fueled by a renewed interest in the individual, under the idea that humanity is a miracle, and you glorified god by portraying his creations in a beautiful manner. This led to much more realistic depictions of the world, the figures of medieval art becoming more three-dimensional, and less homogeneous. The Pieta is an excellent example of this new way of viewing the world, as it was wholly life-sized, and made to be viewed in the round, all sides available to be seen."
Abstract Both Rembrandt and Bernini painted self-portraits and both were keen to manipulate the self-images they presented to the public in certain ways. There are similarities in their perspectives on self-portraits as well as significant differences. One of the most important differences is the fact that Bernini's most compelling self-image appeared in works actually depicting others (David e.g.), while Rembrandt was fond of painting himself as himself.
Abstract Baroque is used as a period label, designating the era that falls approximately between 1600 and 1750 and describes the dominant style in art, music, drama, poetry, prose and life in general at that time. This paper examines the life and art career of Gianlorenzo Bernini, a famous sculpture and artist in 17th century Rome. The paper shows why Bernini's work is representative of the Baroque era.
From the Paper "In 1644, at the age of 76, Pope Urban VIII died, leaving the Church almost bankrupt. Urban gave Bernini his grandest commissions, and thus it is not surprising that Bernini lavished so much care when he made Urban's tomb, which took him from 1628 to 1647. Urban's authority is symbolized by his position atop the tomb, dispensing benediction to the faithful. Beneath, he immortalizes Urban VIII by writing his name in gold letters on a scroll."
Abstract This art study examines the San Pietro Piazza through the work of the famous architect and sculptor, Gianlorenzo Bernini. By understanding the classical return to Roman architecture in this massive piazza, one can realize the growing sense of domination that Bernini's architecture offers for the Vatican. The issues of Roman culture were of major interest in the design of this piazza, as Pope Urban VIII and Innocent X sought a greater return to the ancient powers of Rome in previous eras.
Abstract This paper discusses the achievements of Bernini Gianlorenzo, who was a superbly talented Baroque sculptor and architect. The paper shows how Bernini's combination of great talent in multiple fields, spirituality and versatility all combined to give him a range and a quality which helped to make his work outstanding. It particularly focuses on his best known work - his marble "Ecstasy of St. Teresa."
From the Paper "As we have seen, Bernini's combination of great talent in multiple fields, spirituality, and versatility all combined to give him a range and a quality which helped to make him outstanding not only among his peers, but for all time. Moreover, his incredible talent with stone enabled him to give the appearance of life and movement to cold hard marble. To this day, we cannot look at his Ecstasy of St. Teresa without feeling some of the ecstasy, and feeling that we too might one day ascend to commune with God."
This paper uses Michelangelo's "David" and Bernini's "The Rape of Persephone" to describe both the Renaissance and the Baroque periods in Italian sculpture.
Abstract This paper uses the works of Michelangelo's "David" and Bernini's "The Rape of Persephone" as representative creations for the Renaissance and the Baroque periods in Italian sculpture. This paper looks at the majestic expression of the characters, the dynamism of Bernini's work and the innovative techniques used in both, to illustrate how the sculptures stand out as masterpieces of innovative art.
From the Paper "Bernini is the most prominent sculptor of the Italian Baroque period. This statuary group is a very good exponent of his entire body of work as far as sculpture as it displays his impressive ability to handle marble and to create realistic images and tension - mimesis - as well as his skills in giving the impression of variegated color and in playing with strong light and dark contrasts. The statuary group illustrates the mythical episode of the abduction of Persephone, the daughter of the Roman god Ceres by Pluto, the god of the underworld. In Roman mythology Persephone represented the goddess of fertility and harvest. As the legend goes, Persephone's mother manages to convince Pluto to allow her daughter to spend half of the year on earth and the other half in Hades, Pluto's kingdom of the underworld. This is why, every spring, flowers blossom and natures comes alive to welcome young Persephone back to earth. The statue was executed by Italian sculptor Bernini between 1621 and 1622, more than a century after Michelangelo's David. It was commissioned as a gift from Cardinal Scipione to Cardinal Ludovisi. In fact, the statuary group remained in his villa until 1908 when the Italian state purchased it and gave it to the art collection of the Borghese Villa in Rome."
Abstract This paper explores the two major modes of Baroque art, which are allied respectively with the Catholic and Protestant churches. It defines the art of this period as having a general sense of vitality and an emphasis on creating the illusion of movement. The paper explores the Baroque painting, sculpture and architecture, including the works of Rembrandt, Velasquez and Bernini.
From the Paper "Unless we are scholars of art history we may have a somewhat distorted view of what constitutes Baroque art, for the term is often used in common parlance to mean any artistic or decorative object that is overly ornate and adorned with as many fripperies as it can hold. However, the term has actually a very precise definition, which this paper takes up as it explores the two major modes of Baroque art, which were allied respectively with the Catholic and Protestant churches."
Abstract This paper discusses the special characteristics of the Baroque era and makes a comparison of Bernini's sculpture of St. Teresa with Bach's Sonata 2.
Abstract Lorenzo Ghiberti (1378-1455) was a many-sided Renaissance figure; he was a bronze-caster, sculptor, goldsmith, draughtsman, architect, writer, and historian. Among his most celebrated surviving works are the bronze doors he created for the Baptistery of the Cathedral in Florence. This discusses the circumstances in which Ghiberti secured and completed the commission to design the north doors of the Baptistery (1400-24) and analyzes their composition and character. Ghiberti's work in Florence is then compared to that of Gianlorenzo Bernini at the Baroque church of Sant? Andrea al Quirinale, Rome (1658-70).
From the Paper "In late 1400 the officials of the Cloth-Dealers and Refiners? Guild of Florence (the Arte di Calimara) announced a competition to design a set of doors for the Baptistery of the Cathedral. The Baptistery is a very old structure, the primary elements of which probably date to the seventh and eight centuries AD. The exterior covering of marble was constructed in the twelfth century and stood as an exemplar of architectural elegance and harmony. The Baptistery, which is a free-standing octagonal building located in the Piazza San Giovanni at the western end of the Cathedral, has three doors opening to the north, south and east. In the 1330s Andrea Pisano had completed a set of bronze doors for the southern entrance, and the Guild sought to complete the project by fitting similar doors, in bronze and decorated with reliefs, to the other two entrances."
Abstract This paper explains that several artists have depicted David, the young man, in an artistic medium. The author explores sculptures by Michelangelo, Donatello and Bernini.
From the Paper "The Biblical image of David has been portrayed in various lights throughout history. David is, of course, the young man who fought the giant Goliath in Judeo-Christian mythology. It is a story that has infused many aspects of modern culture and as such several artists have taken on the task of depicting the young man in an artistic medium. Past artists who have executed sculptures of the famed young man include Michelangelo, Donatello and Bernini. The works of each of these artists depict the ..."
From the Paper " Gianlorenzo Bernini (1598-1680) did more than any individual to create the appearance of Rome as it exists today. As the leading sculptor and architect of the Baroque era, Bernini's talents and tastes meshed perfectly with the Church's demand for an increased magnificence and intensity in religious art. The Catholic Counter-Reformation called for an image of the Church as a triumphant force, undiminished by the heretical efforts of the Protestant reformers. Throughout the city of Rome, the power of Bernini's papal patrons was reflected in the sumptuous fountains, tombs, and religious sculpture he supplied. At St. Peter's, the very heart of Catholicism, Bernini transformed the church (both inside and out) with designs whose magnificent theatricality was matched by a fervent intensity. Three major examples of Bernini's work demonstrate the nature of his enormous.."
From the Paper "David was one of the most popular Old Testament figures represented in the art of Christian Europe. His well-known life included many events that were easily recognized and took on a variety of symbolic meanings. One of the most common ways of presenting David was in his role as the young killer of the giant Goliath. But even this one portion of David's story could have different forms and meanings. A comparison of four Italian Renaissance sculptures of David demonstrates four very different approaches to the subject. The sculptures are Michelangelo's marble David (1504), Donatello's bronze David (c. 1430), another bronze by Andrea del Verrocchio (c. 1470), and Gianlorenzo Bernini's marble version (1624). Over the span of two centuries it is possible to see the evolution of stylistic approaches in these four statues along with the variations in the artists' use ..."
From the Paper "The Religious Background of the Baroque and the Artistic Communication with England
The period which has come to be called the baroque is intriguing because it grew out of a unique set of political, religious and cultural circumstances. Blunt ties the style to origins in Rome for good reason, as the situation surrounding the Catholic church at about 1600 had a lot to do with the origins of the style. The Protestant Reformation of the 16th century had led to deep introspection on the part of the Catholics. The leaders in the church realized that some positive action was necessary in order to avoid further political embarrassment, continued corruption and massive attrition from the church. The Protestants had attacked the church mainly with charges of selling offices of authority, men holding numerous offices simultaneously, and the..."
Abstract This paper explains that the Basilica of Saint Peter in Rome reflects the acts of Saint Peter, serves as a model for all the great Churches in Italy and provides a deep historical and religious framework for Christianity. The author points out that Saint Peter is one of the most significant icons of the New Testament. The paper notes that the first Basilica of Saint Peter, finalized in 324 and which was designed in the form of a cross, became worn through the ages and reconstruction was inevitable. The author explains that reconstruction of the new Saint Peter's Basilica, begun in 1503, involved Donato Bramante, who implemented a Greek style cross design, followed by Antonio da Sangallo, who added the Baroque features to the interior, Michelangelo, who contributed his awesome dome, and Bernini, who designed in 1667 the square directly outside the Basilica.
Table of Contents:
Saint Peter's Profile
The Deeds of Saint Peter
Saint Peter's Burial
History of Saint Peter's Basilica
Architecture of Saint Peter's Basilica
The Deeds of Saint Peter Reflected in Architecture
From the Paper "Jesus christened Peter with the name, Cephas. In translation, Cephas means 'The Rock'. The inference of this name clearly describes the role that Saint Peter played as a primary leader during Jesus' life. As a disciple, Peter witnessed a great deal of miracles and promoted the salvation of Christianity through example. Along with apostles James and John, Saint Peter remained close to Jesus and advised him on many issues. Peter was present for many of Jesus' trials and miracles, documented as the main apostle at Jesus' transfiguration, the revival of Jairus's daughter from the dead and the Agony of the Garden of Gathsemane."
