Plaza de San Pedro. Rome. GL Bernini Gianlorenzo Bernini
Biography: He was one of the most outstanding artists of the Italian Baroque. His artistic activity is not limited to sculpture, was also a great architect, painter, illustrator and designer, designed fireworks displays, and funeral and playwright. His art is the quintessence of baroque energy and robustness in full swing. In sculpture, his great ability to capture the texture of the skin or clothing, as well as its ability to reflect the emotion and movement, were astounding. Bernini made changes in some forms and sculptural busts, fountains and tombs. His influence was enormous during the seventeenth and eighteenth centuries, and can be seen in the work of masters such as Pierre Puget, Pietro Bracci, and Andreas Schlüter. His whole life was dedicated to work and his career was characterized by a large number of projects he undertook. His career developed almost entirely in Rome, although he was born in Naples on December 7, 1598. His father, Pietro Bernini, a talented sculptor of the late Mannerism, was his first teacher. However, soon the son surpassed the father as the principal sources of information on Bernini: the biography of Filippo Baldinucci (1682) and his son Domenico Bernini (1713). Many of his early sculptures were inspired by Hellenistic art. The Goat Amalthea Nursing the Infant Zeus and a Young Satyr (which lately is believed to be 1609, Galleria Borghese, Rome) typifies the classical taste of the youthful sculptor. The sculptures by earlier masters such as Giambologna, was characterized by the fact that they were developed to be surrounded by the viewer and viewed from different angles. However, the sculptures Bernini of the 1620 as the Rape of Proserpina (1621-1622, Galleria Borghese, Rome), presented to the viewer a unique perspective without sacrificing none of the drama inherent in the scene. Also in the 1620 are its first architectural , like the facade of the church of Santa Bibiana in Rome (1624-1626) and the creation of the magnificent canopy (1624-1633), canopy over the altar St. Peter's Basilica, which was commissioned by Pope Urban VIII, the first of seven pontiffs for whom he worked. This project, a masterpiece of engineering, architecture and sculpture, was the first in a series monumental works for St. Peter's Basilica. Later created the tombs of Urban VIII (1628-1647) and Alexander VII (1671-1678), both in the basilica of St. Peter, who, three-dimensional figures in a dynamic attitude, differ markedly from the purely architectural approach to the sepulchers by previous artists. In the colossal St. Peter's Chair (the chair gestatoria, 1657-1666), in the apse of the basilica, used marble, gilded bronze and stucco in a splendid composition upward movement, which becomes more dramatic with the window oval gold is in the center and becomes the focal point of the entire basilica. Bernini was the first sculptor to realize the dramatic potential of light in a sculptural. This is even more evident in his famous masterpiece Ecstasy of Saint Teresa (1645-1652, Santa Maria della Vittoria, Rome), where the sun's rays, coming from an unseen source, illuminate the swooning saint and the smiling angel is about to pierce her heart with a golden arrow. The numerous busts also carry an analogous sense of persuasive dramatic realism, both allegorical character as the lost soul and the soul saved (both from about 1619, House Spain, Rome), as were portraits, such as the Cardinal Scipione Borghese (1632, Gallery Borghese) or that of Louis XIV of France (1665, Palace of Versailles). Among the non-religious architectural works by Bernini for various projects including palaces, Ludovisi Palace (now Palace Montecitorio, 1650) and Palazzo Chigi in Rome (1664), as well as some designs for the Louvre, a project that was never executed and presented to Louis XIV in 1665, during a five-month stay in Paris. Bernini also designed three churches: the Castel (1658-1661) built on a Greek cross, and the Ariccia (1662-1664) with a circular. The third is his greatest achievement in religious architecture: the Church of San Andrea al Quirinale (1658-1670) Rome was built on an oval plan with an ovoid porch extending in front of the facade, echoing the interior rhythms of the building. The interior, decorated with dark, multicolored marble, has an oval dome of white and gold. They are also the decade of 1660, the Scala Regia (Royal Flush, 1663-1666), which connects the papal apartments in the Vatican Palace to St. Peter's Basilica, and the magnificent Plaza de San Pedro (designed in 1667), that frames the entrance to the basilica in a dynamic oval space formed by two semicircular colonnades. Sources of a sculpture designed by Bernini is the spectacular Fountain of the Four Rivers (1648-1651) in Piazza Navona. Bernini she worked almost until his death on November 28, 1680. His latest work, The Bust of the Savior (Chrysler Museum, Norfolk, Virginia), presents an image of Christ sober and restrained that today has been interpreted as the attitude of calm and resigned to death Bernini.
For her work, visit:
http://www.epdlp.com/arquitecto.php?id=16
0 comments:
Post a Comment