Gian Lorenzo Bernini

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What you need to know about Gian Lorenzo Bernini

Gian Lorenzo Bernini (Naples 1598- Rome 1680) was one of the greatest sculptors and architects of the Italian Baroque. Born in Naples to a family of artists, Bernini moved to Rome as a young man and became a leading figure on the artistic scene under several popes, including Urban VIII and Alexander VII. His extraordinary skill and ability to fuse sculpture, painting and architecture made him famous throughout Europe and profoundly influenced the artistic landscape of the 17th century.

The Life

Childhood and apprenticeship: Bernini began to show his talent very early, guided by his father Pietro Bernini, also a sculptor.

Success in Rome: He arrived in Rome in the early 1600s and began working for Cardinal Scipione Borghese, a patron who commissioned some of his most famous works.

Papal recognition: Thanks to his connection with Pope Urban VIII Barberini, Bernini obtained many important commissions. He also had prestigious commissions from other popes, such as Innocent X and Alexander VII, and worked tirelessly on impressive projects for the Vatican and Rome.

Conflict and criticism: Despite his success, Bernini was not exempt from criticism, especially when a partial collapse of St. Peter’s bell tower threatened his reputation.

Legacy

Bernini left an indelible imprint on Baroque art, creating works that revolutionized sculpture and architecture of the time. His ability to tell stories and convey emotions through marble, combined with his talent for theatrical architecture, influenced artists of later generations and established him as one of the greatest Baroque geniuses. Gian Lorenzo Bernini was a revolutionary figure in the art world, able to influence not only the Baroque, but to leave a legacy that has spanned the centuries. Below are some additional details about his life, historical context and artistic innovations:

Approach to Art and Style

Bernini was known for his extraordinary ability to capture emotion and movement in marble, qualities that distinguished him from many Renaissance sculptors. His technique expressed an almost painterly sensibility, and he knew how to use the contrast between light and shadow to accentuate the dramatic effect of his works. This skill was evident in both his sculptures of religious subjects and those of mythological themes, where he was able to take realism to a new level.

Light and Shadow

Bernini used light as a tool to bring his works to life, almost anticipating the technique of “chiaroscuro” in the visual arts. In his busts and sculptures, the folds of clothing and facial expressions were sculpted in such a way as to create plays of light and shadow that make each work come alive and three-dimensional.

Movement

Unlike his predecessors, Bernini’s sculptures are never static. For example, Bernini’s “David” captures the biblical hero in the midst of movement, with tense muscles and a concentrated face. This was a departure from the more static poses of the Renaissance, reflecting the energy and drama of the Baroque period.

Relationship with Power

Bernini worked under the protection of powerful patrons, especially popes. The most significant relationship was with Pope Urban VIII Barberini, who supported him in many of his most ambitious works. However, this closeness to the Church did not make him immune to criticism: when the bell tower of St. Peter’s, which he designed, showed signs of failing, he faced harsh controversy and temporarily a loss of popularity. However, thanks to his talent, he was able to re-establish his reputation with new commissions and prestigious commissions.

Influence on Sculpture and Architecture

Bernini revolutionized the concept of sculpture by creating complete “installations” in which sculpture, architecture and space dialogue harmoniously. A perfect example of this synergy is “The Ecstasy of Saint Teresa,” where Bernini combined sculpture, architectural perspective and use of light to emotionally engage the viewer. The scene is constructed like a theater, and members of the Cornaro family are represented as spectators, making the viewer part of the narrative.

International Projects and Influence in Europe

Bernini did not only influence Italy: he was also contacted by other European courts. For example, France’s King Louis XIV commissioned him to create a bust and designs for the façade of the Louvre in Paris, although in the end the project was not realized. However, his style influenced many European artists and contributed to the spread of Baroque beyond Italian borders.

Last Years and Death

In his later years, Bernini devoted himself to works of strong spirituality and his personal devotion, creating sculptures and works that reflected his growing religiosity. He died in Rome in 1680 and was buried in the Basilica of Santa Maria Maggiore. His legacy was immense, and his influence continued to inspire Baroque and post-Baroque artists, setting a model of excellence in sculpture and architecture for centuries to come.

Works

Here are some of Gian Lorenzo Bernini’s most famous works, divided between sculpture, architecture and fountains, with a detailed description of their characteristics:

Sculptures

Apollo and Daphne (1622-1625) – Galleria Borghese, Rome. One of Bernini’s most famous sculptures, it depicts the moment when Daphne, pursued by Apollo, begins to turn into a tree to escape him. The level of detail, from the branches and leaves growing from Daphne’s hands and feet, is extraordinary, and the dynamism of the work is typical of the Baroque.

The Rape of Proserpine (1621-1622) – Galleria Borghese, Rome. This sculpture depicts the abduction of Proserpine by Pluto. The drama of the scene is expressed in the way Pluto’s fingers sink into Proserpine’s flesh, a detail that demonstrates Bernini’s skill in making the marble look incredibly realistic.

David (1623-1624) – Borghese Gallery, Rome. In stark contrast to the Renaissance “Davids” of Donatello and Michelangelo, this sculpture depicts David in full motion as he hurls the stone at Goliath. The expression of concentration and the twisting body capture the tension of the moment.

The Ecstasy of Saint Teresa (1647-1652) – Cornaro Chapel, Church of Santa Maria della Vittoria, Rome. This work depicts a scene of spiritual ecstasy experienced by St. Teresa of Avila. Saint Teresa is depicted as an angel pierces her heart with an arrow. Bernini uses natural light, coming from a hidden window, to illuminate the scene, creating a theatrical effect.

Bust of Scipione Borghese (1632) – Galleria Borghese, Rome. This bust captures the personality of Cardinal Borghese with great realism. It is famous for the expressive energy and detail with which it is sculpted, one of the best examples of Baroque portraiture.

Architecture

St. Peter’s Baldachin (1624-1633) – St. Peter’s Basilica, Vatican. A bronze canopy located under the dome of St. Peter’s Basilica, above the papal altar. It features twisted columns and rich gilded bronze decoration. It is a symbolic work combining architecture and sculpture.

St. Peter’s Square (1656-1667) – Vatican. The large oval square designed by Bernini is bordered by two colonnades that form a symbolic embrace of the Church toward the world. In the center, the obelisk and fountains create a visual balance that guides the eye toward the basilica.

Scala Regia (1663-1666) – Vatican. A monumental staircase connecting the Apostolic Palace to St. Peter’s Basilica. Bernini created a perspective effect with the use of smaller and smaller columns toward the bottom, making the staircase appear longer and more imposing than it really is.

Fountains

Fountain of the Four Rivers (1648-1651) – Piazza Navona, Rome. It represents the four great rivers then known (Nile, Danube, Ganges and Rio de la Plata) and symbolizes the union of the continents under the Church. The fountain features monumental figures and a complex structure with an obelisk in the center.

Triton Fountain (1642-1643) – Piazza Barberini, Rome. Located in the square in front of Palazzo Barberini, this fountain depicts Triton blowing shells while casting water, creating a very striking visual effect. The fountain features four intertwined dolphins supporting the central figure.

Fountain of the Barcaccia (1627-1629) – Piazza di Spagna, Rome. Created with his father, Pietro Bernini, this fountain depicts a semi-submerged boat. The design, meant to be visible even up close, was inspired by a flood of the Tiber that left a boat stranded in the square.

Other Notable Works

Tomb of Urban VIII (1628-1647) – St. Peter’s Basilica. A work of great complexity in bronze and marble depicting Urban VIII in a blessing position, surrounded by allegorical figures.

Elephant of Piazza della Minerva (1667) – Piazza della Minerva, Rome. This small sculpture is an elephant supporting an Egyptian obelisk, located in front of the Church of Santa Maria sopra Minerva. The work is famous for its charm and playful appearance.

Curiosities

Precocious artist: Bernini showed extraordinary talent as a child. When he was only eight years old he made a head of St. John the Baptist that so impressed the Pope and other nobles that it drew attention to him as an artistic prodigy. His father, Pietro Bernini, also a sculptor, immediately sensed his son’s potential and brought him to Rome to develop his career.

The controversy of St. Peter’s Bell Towers. Bernini was commissioned to design the bell towers of St. Peter’s Basilica. Unfortunately, during construction, one of the bell towers began to show signs of failure. The work was demolished, causing a serious stain on his reputation. Bernini recovered with new commissions, but for a time he experienced a personal crisis because of this failure.

Passions and rivalries. Bernini was a man of strong passions. He was very close to his brother Luigi, and when he discovered that the latter was having an affair with the same woman with whom Bernini was having an affair, he reacted dramatically. He unleashed a violent attack toward his brother and subsequently had the face of the woman, Costanza Bonarelli, rubbed in revenge. This episode stained his name, but thanks to his influence with the Pope, he avoided serious legal consequences.

The work for Louis XIV of France. Bernini was invited by Louis XIV to France to design the facade of the Louvre in Paris, a very ambitious assignment. However, the project was not successful, mainly because of cultural and artistic differences between Bernini and the French architects. The French king eventually decided to entrust the design of the Louvre to Claude Perrault. Bernini did, however, succeed in creating a bust of Louis XIV, which was highly praised and remains one of the most vivid portraits of the French monarch.

The importance of light in his works. Bernini was a master at using light to bring his works to life. In his sculpture of the Ecstasy of St. Theresa, for example, he placed a hidden window above the chapel so that the sun’s rays hit the sculpture, creating a divine light effect on the scene. This attention to lighting was innovative for the time and helped intensify the viewer’s emotional experience.

Inventor of the concept of “Baroque.” Although Bernini did not coin the term “Baroque,” his expressive and theatrical style defined the movement. The Baroque aimed to emotionally engage the viewer, creating works that seemed to tell a story and capture a moment frozen in time. Bernini excelled at this, so much so that he became the symbolic artist of the Baroque.

A deeply religious man. Despite his turbulent times, Bernini was deeply devout. In the latter part of his life he focused on works of strong spiritual significance, and it is said that in his later years he frequently recited prayers and was close to the Catholic faith, almost as a form of atonement for his past actions.

A long life for the time. Bernini lived to be 82 years old, a remarkable age for the 17th century. During his long life he worked under several popes and managed to maintain a position of prominence, adapting to political and artistic changes and leaving behind an enormous body of work that continues to influence world art.

The mystery of the “lady’s bust.” One of Bernini’s most enigmatic busts is that of Costanza Bonarelli, his mistress and the wife of his assistant. It is one of Bernini’s few female portraits and shows a lively, realistic face with messy hair and a spontaneous expression. This bust is considered one of the artist’s most intimate and human portraits, although the tumultuous history with Costanza adds mystery to the work.

Multifaceted artist. In addition to being a sculptor and architect, Bernini was also a painter, set designer, and playwright. He loved theater and integrated theatrical elements into his works, engaging the viewer in an immersive experience. Bernini succeeded in uniquely synthesizing the various arts, creating a model of a total work of art.

Rvality with Borromini

The rivalry between Gian Lorenzo Bernini and Francesco Borromini is one of the most fascinating stories of Baroque art. Both worked in Rome in the 17th century, and the contrast between their characters and artistic approach created a competition that pushed the boundaries of architecture and sculpture at the time.

Differences in Style

Bernini: He was known for his dramatic, theatrical style geared toward the emotional involvement of the viewer. He loved grandiose sets and created works that combined sculpture, architecture, and light in a spectacular way. His inclination toward dynamism and ornamentation fully represented the Baroque aesthetic, aiming to excite and amaze the audience.

Borromini: In contrast, Borromini was much more rational and experimental, preferring an architecture made of complex geometry, narrow spaces and unusual forms. His structures were innovative and based on mathematical balance, as can be seen in the church of San Carlo alle Quattro Fontane, where he uses curved spaces and particular geometries to create an effect of movement without resorting to excessive decoration.

Characters and Personality

Bernini: He was charming and charismatic, with a great talent for making himself loved by the powerful, especially the popes. He was admired and much in demand, enjoying a prestige that guaranteed him many high-level commissions. He was able to create a network of supporters because of his ability to relate to the aristocracy and popes, such as Urban VIII Barberini.

Borromini: He was known to be introverted, perfectionist, and prone to depression. He did not seek social success and detested compromise. His difficulty in relating to power and his creative independence made it difficult for him to obtain commissions as important as Bernini’s. This loneliness, combined with his passionate nature, contributed to his isolation in the artistic world and finally to his tragic suicide in 1667.

Collaboration and Competition: The rivalry between the two began as a collaboration. They both worked together on important projects for Pope Urban VIII, such as the Baldachin of St. Peter’s, where Borromini handled the architectural details, while Bernini handled the sculptural and decorative aspect. However, Bernini’s talent overshadowed Borromini’s, creating tension and jealousy between the two.

Fountain of the Rivers and St. Charles at the Four Fountains: One of the works that best represents the rivalry is Bernini’s Fountain of the Four Rivers in Piazza Navona, completed in 1651, a symbol of the grandeur and power of the Church. Borromini built at the same time the church of San Carlo alle Quattro Fontane, a structurally revolutionary work, demonstrating his ability to create innovative and complex spaces.

Legends and Anecdotes

“The statue’s gesture”: A famous anecdote concerns the alleged location of the Rio della Plata statue in the Fountain of the Four Rivers, which some say was sculpted by Bernini so that it appears to “fear” the collapse of the facade of the church of Sant’Agnese in Agone, designed by Borromini. However, this is a legend, as Bernini finished the fountain before the church.

Success and Bitterness: While Bernini continued to achieve fame and wealth, Borromini lived in his rival’s shadow. This frustration fueled his bitterness and instability, as he often saw Bernini gain recognition for works he considered technically inferior.

Works Compared: The rivalry between Bernini and Borromini is often highlighted by comparing some of their key works:

Bernini’s St. Peter’s Square vs. Borromini’s Oratorio dei Filippini: Both large-scale projects, but with different approaches. Bernini created a majestic work that welcomed the faithful with a symbolic “embrace,” while Borromini, in the Oratory, explored undulating and dynamic forms, showing an intimate and poetic architecture.

Bernini’s Royal Staircase vs. Borromini’s Helical Staircase of Palazzo Barberini: Bernini’s Royal Staircase uses a perspective effect that makes the staircase longer and grander, while Borromini’s Helical Staircase is a geometric masterpiece that takes advantage of the helical shape for a compact and ingenious space.

Legacy of Rivalry: The competition between Bernini and Borromini stimulated both to push their own limits and enriched Baroque art. Bernini is remembered as one of the greatest artists of his time, capable of capturing emotion and spectacle, while Borromini is considered an avant-garde architect, a forerunner of modern and experimental concepts. Their rivalry became legend and, in a sense, they complemented each other: Bernini with his ability to seduce and fascinate and Borromini with his rigorous geometric creativity. Both left an indelible mark on Rome and helped define the Baroque in a unique way.

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