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Luigi Bernini (1612, Rome - 22 December 1681, Rome) was an Italian engineer, architect, and sculptor. [1]
The son of Pietro Bernini and his wife Angelica Galante, he was born after the couple moved to Rome in 1605. He trained in his elder brother Gian Lorenzo's workshop and assisted him on several works such as the Baldacchino of St Peter's and the 1626 angel for the high altar in Sant'Agostino in Campo Marzio.
Bernini designed the 7-hectare gardens of Valsanzibio, where visitors to the garden arrived by gondola to a doorway of sculptures within sculptures within sculptures. [2]
Alessandro Algardi was an Italian high-Baroque sculptor active almost exclusively in Rome, where for the latter decades of his life, he was, along with Francesco Borromini and Pietro da Cortona, one of the major rivals of Gian Lorenzo Bernini. He is now most admired for his portrait busts that have great vivacity and dignity.
Gian LorenzoBernini was an Italian sculptor and architect. While a major figure in the world of architecture, he was more prominently the leading sculptor of his age, credited with creating the Baroque style of sculpture. As one scholar has commented, "What Shakespeare is to drama, Bernini may be to sculpture: the first pan-European sculptor whose name is instantaneously identifiable with a particular manner and vision, and whose influence was inordinately powerful ..." In addition, he was a painter and a man of the theatre: he wrote, directed and acted in plays, for which he designed stage sets and theatrical machinery. He produced designs as well for a wide variety of decorative art objects including lamps, tables, mirrors, and even coaches.
Santa Maria della Vittoria is a Catholic titular church and basilica dedicated to the Virgin Mary in Rome, Italy. The church is known for the masterpiece of Gian Lorenzo Bernini in the Cornaro Chapel, the Ecstasy of Saint Teresa. The church is in the Rione Sallustiano, on number 98 via XX Settembre, where this street intersects with Largo Santa Susanna. It stands to the side of the Fontana dell'Acqua Felice. The church mirrors the Church of Santa Susanna across the Largo. It is about two blocks northwest of the Piazza della Repubblica and Teatro dell'Opera metro stop.
The Galleria Borghese is an art gallery in Rome, Italy, housed in the former Villa Borghese Pinciana. At the outset, the gallery building was integrated with its gardens, but nowadays the Villa Borghese gardens are considered a separate tourist attraction. The Galleria Borghese houses a substantial part of the Borghese Collection of paintings, sculpture and antiquities, begun by Cardinal Scipione Borghese, the nephew of Pope Paul V. The building was constructed by the architect Flaminio Ponzio, developing sketches by Scipione Borghese himself, who used it as a villa suburbana, a country villa at the edge of Rome.
The Palazzo Barberini is a 17th-century palace in Rome, facing the Piazza Barberini in Rione Trevi. Today, it houses the Galleria Nazionale d'Arte Antica, the main national collection of older paintings in Rome.
Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.
Fontana del Moro is a fountain located at the southern end of the Piazza Navona in Rome, Italy. It depicts a nautical scene with tritons, dolphins, and a conch shell. It was originally designed by Giacomo della Porta in the 1570s with later contributions from Gian Lorenzo Bernini in the 1650s. Bernini sculpted a large terracotta model of the central figure, which Giovanni Antonio Mari used as a guide when sculpting the final figure. There is a debate around whether or not the central figure was intended by Bernini to depict a Moor. Some of the original sculptures were moved to the Galleria Borghese in 1874. In 2011, the fountain was vandalized.
Apollo and Daphne is a life-sized marble sculpture by the Italian artist Gian Lorenzo Bernini, which was executed between 1622 and 1625. It is regarded as one of the artistic marvels of the Baroque age. The statue is housed in the Galleria Borghese in Rome, along with several other examples of the artist's most important early works. The sculpture depicts the climax of the story of Apollo and Daphne, as written in Ovid's Metamorphoses, wherein the nymph Daphne escapes Apollo's advances by transforming into a laurel tree.
The Sleeping Hermaphroditus is an ancient marble sculpture depicting Hermaphroditus life size. In 1620, Italian artist Gian Lorenzo Bernini sculpted the mattress upon which the statue now lies. The form is partly derived from ancient portrayals of Venus and other female nudes, and partly from contemporaneous feminised Hellenistic portrayals of Dionysus/Bacchus. It represents a subject that was much repeated in Hellenistic times and in ancient Rome, to judge from the number of versions that have survived. Discovered at Santa Maria della Vittoria, Rome, the Sleeping Hermaphroditus was immediately claimed by Cardinal Scipione Borghese and became part of the Borghese Collection. The "Borghese Hermaphroditus" was later sold to the occupying French and was moved to The Louvre, where it is on display.
Blessed Ludovica Albertoni is a funerary monument by the Italian Baroque artist Gian Lorenzo Bernini. The Trastevere sculpture is located in the specially designed Altieri Chapel in the Church of San Francesco a Ripa in Rome, Italy. Bernini started the project in 1671, but his work on two other major works—The Tomb of Pope Alexander VII and the Altar of the Blessed Sacrament in St. Peter's Basilica—delayed his work on the funerary monument. Bernini completed the sculpture in 1674; it was installed by 31 August 1674.
Baroque sculpture is the sculpture associated with the Baroque style of the period between the early 17th and mid 18th centuries. In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms—they spiralled around an empty central vortex, or reached outwards into the surrounding space. Baroque sculpture often had multiple ideal viewing angles, and reflected a general continuation of the Renaissance move away from the relief to sculpture created in the round, and designed to be placed in the middle of a large space—elaborate fountains such as Gian Lorenzo Bernini‘s Fontana dei Quattro Fiumi, or those in the Gardens of Versailles were a Baroque speciality. The Baroque style was perfectly suited to sculpture, with Bernini the dominating figure of the age in works such as The Ecstasy of St Theresa (1647–1652). Much Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains, or fused sculpture and architecture to create a transformative experience for the viewer. Artists saw themselves as in the classical tradition, but admired Hellenistic and later Roman sculpture, rather than that of the more "Classical" periods as they are seen today.
St. Peter's Baldachin is a large Baroque sculpted bronze canopy, technically called a ciborium or baldachin, over the high altar of St. Peter's Basilica in Vatican City, the city-state and papal enclave surrounded by Rome, Italy. The baldachin is at the center of the crossing, and directly under the dome of the basilica. Designed by the Italian artist Gian Lorenzo Bernini, it was intended to mark, in a monumental way, the place of Saint Peter's tomb underneath. Under its canopy is the high altar of the basilica. Commissioned by Pope Urban VIII, the work began in 1623 and ended in 1634. The baldachin acts as a visual focus within the basilica; it is itself a very large structure and forms a visual mediation between the enormous scale of the building and the human scale of the people officiating at the religious ceremonies at the papal altar beneath its canopy.
Truth Unveiled by Time is a marble sculpture by Italian artist Gian Lorenzo Bernini, one of the foremost sculptors of the Italian Baroque. Executed between 1645 and 1652, Bernini intended to show Truth allegorically as a naked young woman being unveiled by a figure of Time above her, but the figure of Time was never executed.
The Martyrdom of Saint Lawrence is an early sculpture by the Italian artist Gian Lorenzo Bernini. It shows the saint at the moment of his martyrdom, being burnt alive on a gridiron. According to Bernini's biographer, Filippo Baldinucci, the sculpture was completed when Bernini was 15 years old, implying that it was finished in the year 1614. Other historians have dated the sculpture between 1615 and 1618. A date of 1617 seems most likely. It is less than life-size in dimensions, measuring 108 by 66 cm.
The Bust of Costanza Bonarelli is a marble statue bust created by Gian Lorenzo Bernini during the 1630's. The piece is currently being shown in the Museo Nazionale del Bargello in Florence, Italy. Considered among the most personal of Bernini's works, the bust shows a figure named Costanza Piccolomini Bonarelli, the wife of Matteo Bonarelli, and one of Bernini's disciples and colleagues.
Damned Soul is a marble sculpture bust by the Italian artist Gian Lorenzo Bernini as a pendant piece to his Blessed Soul. According to Rudolf Wittkower, the sculpture is in the Palazzo di Spagna in Rome. This may well be what is known today as the Palazzo Monaldeschi.
The Bust of Alessandro Peretti di Montalto is a portrait sculpture by the Italian artist Gian Lorenzo Bernini. Executed in 1622 and 1623, the sculpture is now in the Kunsthalle Hamburg, in Germany. Although possibly mentioned by one of Bernini's early biographers, the bust had been considered lost and therefore makes no appearance in Rudolf Wittkower's catalogue of Bernini’s sculptures of 1955. However, the bust was identified in the 1980s and is now considered an authentic work by Bernini.
The Blessed Soul is a bust by the Italian artist Gian Lorenzo Bernini. Executed around 1619, it is a pendant piece to the Damned Soul. Their original location was sacristy of the church of San Giacomo degli Spagnuoli, but they were then moved in the late 19th century, and then to the Spanish Embassy to the Holy See in Piazza di Spagna The set may have been inspired by prints by Karel van Mallery, although they were initially categorized as nymph and satyr.
The Equestrian Statue of King Louis XIV is a sculpture designed and partially executed by the Italian artist Gian Lorenzo Bernini, who was originally brought to France to design a new facade of the Louvre, a portrait bust, and an equestrian statue. Bernini first discussed the project while in France in the mid-1660s, but it did not start until later in the decade, when back in Rome. It was not completed until 1684 and then shipped to Paris in 1685. Louis XIV of France was extremely unhappy with the end result and had it placed in a corner of the gardens of the royal palace at Versailles. Soon after, the sculpture was modified by François Girardon and altered into an equestrian sculpture of the ancient Roman hero Marcus Curtius.
The Raimondi Chapel is a chapel within the church of San Pietro in Montorio, Rome, Italy. The chapel houses the tombs of two members of the Raimondi family, Francesco and Raimondo. Both the architectural and sculptural elements of the chapel were designed by the artist Gianlorenzo Bernini - it was one of Bernini's first works where the relationship between the sculpture and the architecture was considered as a whole. Elements of the sculptures were executed by other artists in Bernini's circle; Andrea Bolgi did the busts of the two Raimondi brothers and the accompanying putti. Niccolò Sale undertook the reliefs on the tombs, while Francesco Baratta did the larger relief in the central altar. Work on the chapel took place between 1638 and 1648.
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