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Gianlorenzo Bernini
by Lynn Englar
Understanding the man, the artist, and the art of Gianlorenzo Bernini (1598-1680), (Janson, 557) must include some understanding of the world in which he lived. The focus of this paper will be to explore the possible influences on this man that may have enabled him to become the icon for Baroque sculpture. After briefly remarking on Baroque art in general, a discussion of religious, artistic, family relationships and timely world changes will be covered, as well as Bernini's own amazing prediction. This analysis will render a more thorough appreciation of the genius named Bernini.
Baroque art (1600-1750) originally was defined as "irregular, contorted and grotesque" (ibid. pg. 546). The birth of this style is credited to Rome, center of the Catholic Church. This period followed the Counter Reformation that resulted in a division of allegiance in Christianity, but also strengthened the internal structure of the Catholic Church,. . "Remarkably, the Baroque remained an age of great religious faith, however divided it may have been in its loyalties."(ibid. p 547)
Renaissance art was also started in Italy, however, there is a major difference, between the Baroque and Renaissance periods. Like the world wide explorations of the time that spanned vast areas of the globe and was funded by many different countries, numerous countries had gifted artists during the Baroque period, such as Rembrandt. These variables, cultural and political clearly indicate "the fact is that Baroque eludes simple qualifications."(ibid. 557).
This complexity of defining Baroque equals the complexity involved in understanding Bernini. He created a monumental amount and quality of work for 70 years and never lacked in imagination, using light and emotion in his work like no one before him, or ever wanted for commissions. To receive compensation for his work, Bernini used his ability to win the approval of eight popes.
His personality fit very well with the social and political arena that was included when working for the Catholic Church. "Charming, and aristocratic in manner, he was ideally suited to life in society". (Editori, Palombi, Fratelli, 3) Bernini's personality no doubt played a role in his ability to continue getting the large commissions.
Bernini spent most of his life in Rome and worked primarily for the Catholic Church. This connection with the Catholic Church and its influence on Bernini as an artist and a man cannot be overlooked when considering his work.. Consider the monumental collection housed in the Vatican alone. "Bernini's work in . . St. Peter's embodies . . the Baroque age, [more] than any other complex of works of art in Europe" (Wittkower, 121) and "as large a ground-surface as the Coliseum."(Gable, 1) His drive could very well have come from his beliefs. However, it would be trivializing the man if that was the only aspect to be explored.
All of these amazing accomplishments in Bernini's life and yet he predicted how he would be viewed through history; "At the climax of his fame Bernini prophesied that after he had died his reputation would decline. He was right"(Wittkower, 11) It is the 400th anniversary at the Borghese Galleria (Geitman, 1) and Bernini may finally find a place in history that will eventually lead to acknowledge of his art with equal familiarity as Michelangelo, Raphael, or da Vinci.
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Bernini - page 2 |
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