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Gian Lorenzo Bernini: Naples Italy
built 220 days ago
The best book on Bernini's sculpture is Rudolf Wittkower, Gian Lorenzo Bernini, the Sculptor of the Roman Baroque (1955; 2d ed. 1966). Wittkower's Art and Architecture in Italy, 1600-1750 (1958; rev. ed. 1965), includes a section on Bernini as an architect. Howard Hibbard, Bernini (1966), is a good, popular study based on Wittkower. A contemporary view of Bernini is Filippo Baldinucci, The Life of Bernini (1682; trans. 1966). For the 17th-century Italian and European background see David Ogg, Europe in the Seventeenth Century (1925; 8th ed. 1961), and Carl J. Friedrich, The Age of the Baroque, 1610-1660 (1952).
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Bernini traveled to France in 1665, in what was his only extended absence from Italy. The excursion was made in response to repeated requests that for many years had been issued to him by King Louis XIV, and the purpose was the design of a luxurious new French royal housing compound. In these days, Bernini was so renowned as a fountain designer that many citizens lined the avenues of each town along the route to wish him well as he passed. His reception in Paris was equally celebrated, but he soon upset his French hosts by repeatedly praising the art and architecture of Italy and disparaging that of France. His views made him unpopular with the French elite and were the basis for the rejection of his designs for the Louve museum. The only remaining symbolism of Bernini's visit to Paris is his great statue of Louis XIV, a symmetrical, vertical, and robust portrait, in which the Sun King watches over his kingdom with the authority of a God.
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Bernini went to Paris in 1665, in what was his only prolonged absence from Rome. The trip was made in response to invitations that for many years had been extended to him by King Louis XIV, and the purpose was the design of a new French royal residence. By this time, Bernini was so famous that crowds lined the streets of each city along the route to watch him pass. His initial reception in Paris was equally triumphant, but he soon offended his sensitive hosts by imperiously praising the art and architecture of Italy at the expense of that of France. His statements made him unpopular at the French court and were to some degree responsible for the rejection of his designs for the Louvre. The only relic of Bernini's visit to France is his great bust of Louis XIV, a linear, vertical, and stable portrait, in which the Sun King gazes out with godlike authority.
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Bernini was born in Naples by a Florentine family and accompanied his father Pietro Bernini , a capable Mannerist sculptor himself, to Rome. Here the young prodigy's capabilities were soon noticed by the great painter Annibale Carracci and by the Pope Paul V himself, and Bernini could therefore began to works as an indpendent artist. His first works were inspired by Hellenistic sculpture of ancient Greece and imperial Rome he could study in the new seat.
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Bernini was born in Naples to a capable Mannerist sculptor, Pietro Bernini, originally from Florence. At the age of seven he accompanied his father to Rome, where his father was involved in several high profile projects.[1] There as a boy, his skill was soon noticed by the painter Annibale Carracci and by Pope Paul V, and Bernini gained the patronage exclusively under Cardinal Scipione Borghese, the pope's nephew. His first works were inspired by antique Hellenistic sculpture.
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Born in Naples, Bernini was an exceptional talent from an early age and went on to dominate the art world of 17th century Rome. His work epitomised the Baroque style and his sculpture, church interiors and exteriors and town planning could be seen everywhere. He was ... a painter, playwright, costume and theatre designer.
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