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Gian Lorenzo Bernini and the Italian Baroque, Part I: The Stage
By the 17th century the Renaissance had subsided, but the scientific figurative tradition it had revived had become the crucible of a new grand style reflecting the dynamism and excesses of the...
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Bernini and the Baroque, Part II: The Theatrical and the Candid Moment
A young man in his mid-twenties, Bernini had already accomplished much before his arrival to St. Peter’s. Work had begun on Apollo and Daphne (1625), and the artist’s David (1623), a commission of...
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Bernini and the Baroque, Part III: The Virtuoso
Bernini’s fascination with motion and his observational acuity were providentially complemented by an astonishing technical virtuosity; the sculptor’s facility with marble contributes much to both the...
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Bernini and the Baroque, Part IV: Spiritual Ecstasy
Closely associated with the sculptor’s virtuosity, and an emblem of the Baroque, is the inscrutable masterpiece Ecstasy of Saint Teresa, completed in 1652 for Rome’s Cornaro Chapel. Speculatively, the...
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