| Saint Bibiana | |
|---|---|
 | |
| Artist | Gian Lorenzo Bernini |
| Year | 1624–26 |
| Catalogue | 20 |
| Type | Sculpture |
| Medium | Marble |
| Subject | Saint Bibiana |
| Location | Santa Bibiana, Rome |
Saint Bibiana is a sculpture by the Italian artist Gian Lorenzo Bernini. It sits in the high altar of the church of Santa Bibiana in Rome. [1] Bernini received his first payment for the work in 1624, and his final payment in 1626. A seventeenth-century print of the statue exists in the Teylers Museum, Harlem, the Netherlands. [2]
Statue of Saint Bibiana is the first example of this Christian Baroque type. It was commissioned in 1624 by rediscovering of saint's body at the beginning of the pontificate of Urban VIII., who that event considered as a good sign of the beginning of his papacy. Therefore, he initiated rebuilding of the original church in the new Baroque style, also with creating of interior and new high altar of Saint Bibiana. Execution of the works and sculpture was commissioned to Gian Lorenzo Bernini.
Statue of St. Bibiana is created as standing female figure draped in a robe along with her attributes column and palm branches. The essence of the work is based on gestures and expressions of St. Bibiana. Her opened mouth and view heading to the skies, evokes emotional conflict of the face. While one hand is holding the palm branch in calm, the other hand lying on the column with forearm gently in front of evoking resistance to story. Statue does not shows the ceratian point of the Saint's life, but only abstract story characterized figure. The more is possible to see emotions of Saint Bibiana and her illusive devotion. The statue is placed in a niche of the altar, which is located at the end of the church. Creating of new unusual window above of the altar brings bright glow of light and supports that mystical feeling of the whole scene. Theatricality and play with light is also created by small windows in vault of the church that illuminates statue of Saint Bibiana itself .
The sculpture was shown as part of the large Bernini retrospective at the Galleria Borghese in Rome (2017-18) On its return to the church of Santa Bibiana, the ring finger of the saint's right hand was broken off. [3] [4]
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 theater: 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.
Baroque architecture is a highly decorative and theatrical style which appeared in Italy in the early 17th century and gradually spread across Europe. It was originally introduced by the Catholic Church, particularly by the Jesuits, as a means to combat the Reformation and the Protestant church with a new architecture that inspired surprise and awe. It reached its peak in the High Baroque (1625–1675), when it was used in churches and palaces in Italy, Spain, Portugal, France, Bavaria and Austria. In the Late Baroque period (1675–1750), it reached as far as Russia and the Spanish and Portuguese colonies in Latin America. About 1730, an even more elaborately decorative variant called Rococo appeared and flourished in Central Europe.
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 Church of Saint Andrew on the Quirinal is a Roman Catholic titular church in Rome, Italy, built for the Jesuit seminary on the Quirinal Hill.
The Ecstasy of Saint Teresa is a sculptural group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome. It was designed and completed by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the Chapel in marble, stucco and paint. It is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture depicts Teresa of Ávila, a Spanish Carmelite nun and saint, swooning in a state religious ecstasy, while an angel holding a spear stands over her.
The Parish Basilica of Santa Maria del Popolo is a titular church and a minor basilica in Rome run by the Augustinian order. It stands on the north side of Piazza del Popolo, one of the most famous squares in the city. The church is hemmed in between the Pincian Hill and Porta del Popolo, one of the gates in the Aurelian Wall as well as the starting point of Via Flaminia, the most important route from the north. Its location made the basilica the first church for the majority of travellers entering the city. The church contains works by several famous artists, such as Raphael, Gian Lorenzo Bernini, Caravaggio, Alessandro Algardi, Pinturicchio, Andrea Bregno, Guillaume de Marcillat and Donato Bramante.
Santa Bibiana is a small Baroque style, Roman Catholic church in Rome devoted to Saint Bibiana. The church façade was designed and built by Gian Lorenzo Bernini, who also produced a sculpture of the saint holding the palm leaf of martyrs.
Aeneas, Anchises, and Ascanius is a sculpture by the Italian artist Gian Lorenzo Bernini created c. 1618-19. Housed in the Galleria Borghese in Rome, the sculpture depicts a scene from the Aeneid, where the hero Aeneas leads his family from burning Troy.
François Duquesnoy or Frans Duquesnoy was a Flemish Baroque sculptor who was active in Rome for most of his career. His idealized representations are often contrasted with the more emotional character of Bernini's works, while his style shows a great affinity to Algardi's sculptures.
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.
The Rape of Proserpina is a large Baroque marble sculptural group by Italian artist Gian Lorenzo Bernini, executed between 1621 and 1622. Bernini was only 23 years old at its completion. It depicts the abduction of Proserpina, who is seized and taken to the underworld by the god Pluto. The word "Rape" is the traditional translation of the Latin raptus, "seized" or "carried off", and does not refer specifically to sexual violence.
Giuseppe Mazzuoli was an Italian sculptor working in Rome in the Bernini-derived Baroque style. He produced many highly accomplished sculptures of up to monumental scale but was never a leading figure in the Roman art world.
Martyrdom of Saint Lawrence is an early sculpture by the Italian artist Gian Lorenzo Bernini. It depicts 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 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 Giovanni Battisti Santoni is a sculptural portrait by the Italian artist Gian Lorenzo Bernini. Believed to be one of the artist's earliest works, the bust forms part of a tomb for Santoni, who was majordomo to Pope Sixtus V from 1590 to 1592. The work was executed sometime between 1613 and 1616, although some have dated the work as early as 1609, including Filippo Baldinucci. The work remains in its original setting in the church of Santa Prassede in Rome.
Bust of Giovanni Vigevano is a marble sculptural portrait by the Italian artist Gian Lorenzo Bernini. The bust was produced between 1617 and 1618, and was then inserted into the tomb for Vigevano after he died in 1630. The tomb is in the church of Santa Maria sopra Minerva in Rome.
The Busts of Pope Innocent X are two portrait busts by the Italian artist Gianlorenzo Bernini of Pope Innocent X, Giovanni Battista Pamphili. Created around 1650, both sculptures are now in the Galleria Doria Pamphili in Rome. Like the two busts of Cardinal Scipione Borghese, it is believed that Bernini created a second version of the bust once a flaw was discovered in the first version. There exist several similar versions of the bust done by other artists, most notably Alessandro Algardi.
The Memorial to Carlo Barberini is a large memorial, featuring two allegorical statues and an inscription. It was designed by the Italian artist Gian Lorenzo Bernini upon the death of Carlo in 1630, and subsequently executed by Bernini and his workshop. It is in the church of Santa Maria in Aracoeli in Rome.
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