Abstract
The paper analyzes the main facets of composition and form within the preliminary drawings and terracotta models that Bernini had created for "The Ecstasy of Saint Theresa." The paper highlights the effects of detail that define the genius of her garments and the symbolic representation of her deep trance under God's glory, and shows how Bernini sought to create a three-dimensional sculpture through models that would work in conjunction with the architecture and effects of lighting as a type of theatrical expression of this medium within the Church.

Tags:bernini, drawings, sculpture

Abstract
The paper relates that Giovanni Lorenzo Bernini was an Italian sculptor, painter and architect who lived and worked in Rome in the 17th century. The paper explains that he is one of the most memorable Baroque artists, producing numerous pieces and bringing innovative elements into his art throughout his career. The paper relates that many consider Bernini "the maker of Baroque Rome" (Avery 11), and the important artistic interest of Baroque era was concentrated on space, light and time (Martin 14).

From the Paper
"Giovanni Lorenzo Bernini was an Italian sculptor, painter and architect who lived and worked in Rome in the 17th century. He is one of the most memorable Baroque artists, producing numerous pieces and bringing innovative elements into his art throughout his career. Many consider Bernini "the maker of Baroque Rome" (Avery, 11). The important artistic interest of Baroque era was concentrated on space, light and time (Martin, 14). The need to expand the space and create the illusion of infinity is clearly evident in the great illusionist ceiling paintings that visually extend the building to the heavens. When we consider sculpture, the..."

Tags:bernini, st. teresa, sculpture

Abstract
This paper is based on two books by Flippo Balinucci and Bernini's son, Domenicpo. The paper answers four questions about the works and Bernini, dealing with his traits and how they are either described or overlooked, and what the two books have in common.

From the Paper
"Baldinucci says he is only looking at the good side of Bernini. "I have undertaken to praise him and nothing more" (Baldinucci 110). In other words, he is not interested in Bernini's problems. He doesn't want to talk about problems. He doesn't even want to talk about how Bernini made all his money. He just wants to pretend to the reader that Bernini was like an angel. A creative angel. Baldinucci does not do what Bernini's son, Domenico does. He does not come to the defense of Bernini. From our reading, we don't even know what "flaws" Bernini had. The foreword and introduction only mention "allegations." Baldinucci is obviously a great..."

Tags:baldinucci, domemnico bernini, autobiography

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."

Tags:apollo, cupid, christianity, mythical, decorative

Abstract
This paper discusses Italian artist Gianlorenzo Bernini and provides a brief overview of his life as well as his influence in the Baroque period of art. The author starts off by defining the term "Baroque" and also provides examples of the Baroque style and period. The paper then describes Bernini's early life and his influences. The paper further describes "David", a sculpture depicting biblical David fighting Goliath and states that it is hard to think about the Baroque period and not think of Bernini. This paper includes figures and pictures.

From the Paper
"Once again, it is hard to think about the word "Baroque" and not think of Bernini. He is undoubtedly one of the best artists of his time and his art has done much to influence and inspire many other artists and architects. What is most interesting, however, about Bernini is what inspired and influenced his own art. Bernini was born right at the beginning of a new era that was dominated by brilliant artists. Even at an early age he showed a taste for art."

Tags:art, history, rome, sculptures, architecture

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."

Tags:Christian, pagan, papacy, Vatican, spiritual, devoutness, reverence

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."

Tags:representative, renaissance, baroque, italian, sculpture, techniques

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."

Tags:Baroque, skill, creation

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."

Tags:Catholicism, theatrum, sacrum, Maffeo, Barberini, Bees

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.