[39] Equally, Bernini moderated the presence of colour and decoration within these buildings, focussing visitors' attention on these simple forms that underpinned the building. [34], Nonetheless, during Bernini's lifetime and in the centuries following till this very day, Bernini's Saint Teresa has been accused of crossing a line of decency by sexualizing the visual depiction of the saint's experience, to a degree that no artist, before or after Bernini, dared to do: in depicting her at an impossibly young chronological age, as an idealized delicate beauty, in a semi-prostrate position with her mouth open and her legs splayed-apart, her wimple coming undone, with prominently displayed bare feet (Discalced Carmelites, for modesty, always wore sandals with heavy stockings) and with the seraph "undressing" her by (unnecessarily) parting her mantle to penetrate her heart with his arrow. WRITE MY ESSAY FOR ME Our approach towards our online [9], Under the patronage of the extravagantly wealthy and most powerful Cardinal Scipione Borghese, the young Bernini rapidly rose to prominence as a sculptor. [5] Sometime after the arrival of the Bernini family in Rome, word about the great talent of the boy Gian Lorenzo got around and he soon caught the attention of Cardinal Scipione Borghese, nephew to the reigning pope, Paul V, who spoke of the boy genius to his uncle. Further significant works by Bernini at the Vatican include the Scala Regia (1663–66), the monumental grand stairway entrance to the Vatican Palace, and the Cathedra Petri, the Chair of Saint Peter, in the apse of St. Peter's, in addition to the Chapel of the Blessed Sacrament in the nave. Terracota Modello[81], "Bernini" redirects here. The tousled hair of Pluto, the pliant flesh of Proserpina, or the forest of leaves beginning to envelop Daphne all demonstrate Bernini's exactitude and delight for representing complex real world textures in marble form.[20]. [35], Matters of decorum aside, Bernini's Teresa was still an artistic tour de force that incorporates all of the multiple forms of visual art and technique that Bernini had at his disposal, including hidden lighting, thin gilded beams, recessive architectural space, secret lens, and over twenty diverse types of colored marble: these all combine to create the final artwork—"a perfected, highly dramatic and deeply satisfying seamless ensemble".[36]. [28], Beginning in the late 1630s, now known in Europe as one of the most accomplished portraitists in marble, Bernini also began to receive royal commissions from outside Rome, for subjects such as Cardinal Richelieu of France, Francesco I d'Este the powerful Duke of Modena, Charles I of England and his wife, Queen Henrietta Maria. The final version did, however, include Bernini's feature of a flat roof behind a Palladian balustrade. [72] Filippo Baldinucci's Life of Bernini, was published in 1682, and a meticulous private journal, the Diary of the Cavaliere Bernini's Visit to France, was kept by the Frenchman Paul Fréart de Chantelou during the artist's four-month stay from June through October 1665 at the court of King Louis XIV. He also designed the church of Santa Maria dell'Assunzione in the town of Ariccia with its circular outline, rounded dome and three-arched portico. [7] It was in this world of 17th-century Rome and the international religious-political power which resided there that Bernini created his greatest works. Within the hitherto unadorned apse of the basilica, the Cathedra Petri, the symbolic throne of St Peter, was rearranged as a monumental gilded bronze extravagance that matched the Baldacchino created earlier in the century. 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. To Rudolf Wittkower the "beholder feels that in the twinkle of an eye not only might the expression and attitude change but also the folds of the casually arranged mantle". Giovanni Lorenzo Bernini (1598-1655) (known as Gianlorenzo Bernini) was one of the greatest artists of the Italian Baroque period. [74] However, recent research now strongly suggests that it was in fact Bernini's sons (and specifically the eldest son, Mons. In the late twentieth century, Bernini was commemorated on the front of the The boy improvised a sketch of Saint Paul for the marveling pope, and this was the beginning of the pope's attention on this young talent. 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. The final design of that monument, in fact, owes much to Paglia's direct intervention. [44] In fact, as Franco Mormando points out, "aesthetics are never mentioned in any of [the] . [63] Among his smaller commissions, although not mentioned by either of his earliest biographers, Baldinucci or Domenico Bernini, the Elephant and Obelisk is a sculpture located near the Pantheon, in the Piazza della Minerva, in front of the Dominican church of Santa Maria sopra Minerva. Gian Lorenzo Bernini lived in the XVI – XVII cent., a remarkable figure of Italian Baroque. In so doing, he brought to fruition the long, slow recreation of the urban glory of Rome—the "renovatio Romae"—that had begun in the fifteenth century under the Renaissance popes. 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. [18], Unlike sculptures done by his predecessors, these focus on specific points of narrative tension in the stories they are trying to tell: Aeneas and his family fleeing the burning Troy; the instant that Pluto finally grasps the hunted Persephone; the precise moment that Apollo sees his beloved Daphne begin her transformation into a tree. [52] Soon after, in May 1639, at age forty-one, Bernini wed a twenty-two-year-old Roman woman, Caterina Tezio, in an arranged marriage, under orders from Pope Urban. "[17] Moreover, Bernini possessed the ability to depict highly dramatic narratives with characters showing intense psychological states, but also to organize large-scale sculptural works that convey a magnificent grandeur. Pei to insert a faithful copy in lead of his King Louis XIV Equestrian statue as the sole ornamental element in his massive modernist redesign of the entrance plaza to the Louvre Museum, completed to great acclaim in 1989, and featuring the giant Louvre Pyramid in glass. His precocity earned him the admiration and favor of powerful patrons who hailed him as 'the Michelangelo of his century'”. ジャン・ロレンツォ・ベル二ーニ（Gian Lorenzo Bernini, 1598年12月7日 - 1680年11月28日 ）は、バロックの時期を代表するイタリアの彫刻家、建築家、画家。 Among his rivals in architecture were, above all, Francesco Borromini and Pietro da Cortona. Bernini's Triton Fountain is depicted musically in the second section of Ottorino Respighi's Fountains of Rome. ジャン・ロレンツォ・ベル二ーニ（Gian Lorenzo Bernini, 1598年12月7日 - 1680年11月28日[1]）は、バロックの時期を代表するイタリアの彫刻家、建築家、画家。, 「ベル二ーニはローマのために生まれ、ローマはベルニーニのためにつくられた」と賞賛されたバロック芸術の巨匠である。古代遺跡が残る古き都ローマは彼の手によって、壮大なスケール、絢爛豪華な装飾にあふれる美の都に変貌していった。人々は彼の作品を「芸術の奇跡」と絶賛した。, 1984年から1999年まで発行された50000イタリア・リレ（リラの複数形）紙幣の裏面に肖像が採用されていた。, ジャン・ロレンツォ・ベルニーニは、1598年12月7日に彫刻家ピエトロ・ベルニーニ（Pietro Bernini,1562年5月6日 - 1629年8月29日）の子としてナポリに生まれた。彼の父親はフィレンツェ郊外に生まれたトスカーナ人であったが、ジャン・ロレンツォが誕生する少し前に、サン・マルティーノのカルトゥジオ会修道院で仕事をするため、ナポリ人の妻アンジェリカ・ガランテと共に、ナポリへと移り住んでいたのである[2][3]。, 1605年に一家はローマに戻り、ピエトロは枢機卿シピオーネ・ボルゲーゼ（英語版）の保護を得て、息子ジャン・ロレンツォの早熟な才能を彼に示す機会を得た。, ピエトロは教皇パウルス5世のために仕事をし、サンタ・マリア・マッジョーレ大聖堂の洗礼堂に《聖母被昇天》を表した大理石の浮彫を制作した。さらにフラミニオ・ポンツィオの後援のもと、同聖堂内の教皇パウルス5世とクレメンス8世の墓を収容することになっていたパオリーナ礼拝堂において、他の画家・彫刻家たちと共に一連の装飾計画に参加し、1611年に《クレメンス8世の戴冠》を高肉彫りで制作した。後に、この大聖堂内にジャン・ロレンツォ・ベルニーニの墓所が設けられる。, これら父親の仕事は若きベルニーニにとって、複数の芸術家による制作の体制や、彫刻と絵画が一体になった図像学的・建築的計画の融合を学ぶ絶好の機会であり、後のベルニーニ自身の仕事に反映されることになる。, 17世紀初頭のローマは、並はずれた才能をもつ芸術家たちの熱気にあふれる芸術的革新に満ちた時期であった。一方では自然主義的なカラヴァッジオの絵画や、カラッチ派の古典主義的なアカデミズムが、他方ではルーベンスの芸術がバロックへの道を切り開いていた。, ヘレニズム時代の彫刻に大きな関心を示したベルニーニは、《雌山羊アマルティア》（1615年）のような作品において古びた大理石の質感まで模し、真にヘレニズム時代の作品であると学者たちをあざむくことができるほどであった。, シピオーネ・ボルゲーゼ枢機卿のために制作された4体の彫刻群、つまり《アイネイアースとアンキーセース》（1618年 - 1619年）、《プロセルピーナの略奪》（1621年 - 1622年）、《ダヴィデ》（1623年 - 1624年）、《アポロとダフネ》（1624年 - 1625年）によって、ベルニーニは即座に名声を手にした。現在でも、4体共にローマのボルゲーゼ美術館に所蔵展示されている。, カルロ・マデルノのもとで建築に携わり、1623年、25歳の時に願ってもないチャンスが訪れる。バルベリーニ家出身の教皇ウルバヌス8世から「勝利の教会」の意思を表すような総合芸術を壮大な都市計画によって実現するために理想的な芸術家であるとみなされたベルニーニは、建築と彫刻と都市計画とが融合した一種の芸術を創造することになった。, こうして最初にウルバヌス8世から依頼されたのは、ビビアナー教会のための《聖女ビビアーナ像》（1623年）であった。続いて、16世紀の教会危機の後のカトリック教会の復活と勝利を表すため、カトリック教会の設立者である使徒聖ペトロの殉教の地であるサン・ピエトロ大聖堂が次なる芸術創造の場に選ばれた。それはミケランジェロやラファエロなど大巨匠による重要な作品の残る場でもあった。, 教皇は、新しい祭壇がブロンズ製の巨大な天蓋（バルダッキーノ）に覆われることを望んでおり、ベルニーニの手によりにバルベリーニ家の紋章である蜂がちりばめられたらせん状の円柱をもつブロンズの巨大天蓋が、大理石の台の上に設置された（1624年 - 1633年）。これは、クアラントーレ（イエスの死から復活まで、つまり金曜の午後から日曜日の朝まで、連続して祈りを捧げる儀式）などで用いられた装飾品に着想を得たものだとされている。, 1627年にはウルバヌス8世の記念碑的墓碑の建設が始められた。それは、ファルネーゼ家出身の教皇パウルス3世の16世紀の墓碑と対照的に設置されたが、トリエント公会議を開始したパウルス3世と、教会改革を終わらせたウルバヌス8世とを象徴的に示すためであった。, 1630年、師カルロ・マデルノの死後、パラッツォ・バルベリーニ（バルベリーニ宮殿）の仕事の後続を依頼され、フランチェスコ・ボッロミーニと協力して完成した。また1642年から1643年に《トリトーネの噴水》を制作した。これは彼の一連の噴水の最初の作例である。, だが1641年に、順風満帆だったベルニーニに落とし穴と挫折が待っていた。設計を担当したサン・ピエトロ大聖堂の鐘塔から大きな亀裂が見つかった。この失敗はローマ中をかけめぐるスキャンダルに発展。若くして美術界に君臨したベルニーニに対し、溜まっていた不満（嫉妬）が一気に爆発する。“見かけばかりで実用をなさないベルニーニ”と批判された。, ベルニーニの幸運は、ウルバヌス8世の死（1644年）をもって突然に去って行ったようである。実際、経済的危機の時代に即位した次期教皇・パンフィーリ家出身のインノケンティウス10世は、極めて厳格な人物であった。, この時期から、数多くの芸術注文はベルニーニのライバルだった他の芸術家に委嘱されるようになり、例えばボッロミーニがサン・ジョバンニ・イン・ラテラノ大聖堂の改装を行い、またカルロ・ライナルディがパンフィーリ宮殿を建設し、さらにはナヴォーナ広場のサン・タンジェロ・イン・アゴーネ教会の建設を始めた。, だがこの時期に、ベルニーニは17世紀の芸術作品の中で最も重要な傑作のひとつを制作した。ローマのサンタ・マリア・デッラ・ヴィットーリア教会（勝利の聖母マリア教会）内、コルナロ礼拝堂の《聖テレジアの法悦》である。, 1644年には、ローマのナヴォーナ広場に《四つの川の噴水》を制作した。続いてサンタ・マリア・ソプラ・ミネルヴァ教会に「修道女マリア・ラッジの記念碑」として《真実》（ボルゲーゼ美術館蔵）を、さらに《インノケンティウス10世の胸像》（ドーリア・パンフィリ美術館蔵）、《フランチェスコ1世・デステの胸像》（モデナ、エステンセ美術館蔵）を制作した。, 1655年にキージ家出身の教皇アレクサンデル7世が即位した。彼は30年前の芸術家に慕われたウルバヌス8世のように、人文主義的な教皇であった。, ベルニーニがこの教皇から最初に注文を受けた作品のひとつは、ローマのサンタ・マリア・デル・ポポロ教会内のキージ家礼拝堂のための、《ダニエルとハバククと天使》（1655年 - 1661年）と、身廊および翼廊の装飾であった。, ローマでは、1656年から1667年に「サン・ピエトロ広場」を建設したが、設計を依頼されたのは50代の半ばであった。だが取り掛かりはじめ難題にぶつかる。当時、サン・ピエトロ大聖堂の前には、いびつな形をした空き地があるだけだった。「この空間を神聖な場所にするには、どうすればいいのか？」ベルニーニは聖地に相応しい形を求め、試行錯誤を繰り返した。そしてひとつのアイデアに辿りつき、1667年にサン・ピエトロ広場は完成した。フランス王ルイ14世に招かれ、ルーヴル宮殿の改築計画にも関わった。, ベルニーニの彫刻のクオリティは極めて高く、多作で、生きていた時代を反映している彫刻家は歴史上殆どいない。彼の最初の作品は17歳、もしくはそれ以前に刻んだ幼神ゼウスの彫像で、最後の作品は81歳の時のキリスト像である。その間60年余り、彼は彫刻史上の大変革に一役買ったばかりでなく、最も人気のある建築家としても作品を残した。, https://ja.wikipedia.org/w/index.php?title=ジャン・ロレンツォ・ベルニーニ&oldid=81827121, 『ベルニーニ　バロックの誕生』 マウリツィオ・ファジョーロ、アンジェラ・チプリアーニ. Although he received no personal commissions from Innocent or the Pamphilj family in the early years of the new papacy, Bernini did not lose his former positions granted to him by previous popes. Saint Longinus is a sculpture by the Italian artist Gian Lorenzo Bernini. Gian Lorenzo Bernini (Giovanni Lorenzo Bernini) (7. detsember 1598 Napoli – 28. november 1680 Rooma) oli 17. sajandi barokiajastu üks silmapaistvamaid itaalia skulptoreid ja arhitekte. [27] The transitory nature of the expression on Scipione's face is often noted by art historians, iconic of the Baroque concern for representing fleeting movement in static artworks. His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual whole has been termed by the late art historian Irving Lavin the "unity of the visual arts".[1]. Also dating to this early period are the so-called Damned Soul and Blessed Soul of circa 1619, two small marble busts which may have been influenced by a set of prints by Pieter de Jode I or Karel van Mallery, but which were in fact unambiguously cataloged in the inventory of their first documented owner, Fernando de Botinete y Acevedo, as depicting a nymph and a satyr, a commonly paired duo in ancient sculpture (they were not commissioned by nor ever belonged to either Scipione Borghese or, as most scholarship erroneously claims, the Spanish cleric, Pedro Foix Montoya). Fagiolo, M., 2008. Bernini's popularity was such that on his walks in Paris the streets were lined with admiring crowds. [46] Though his design for the Louvre went unbuilt, it circulated widely throughout Europe by means of engravings and its direct influence can be seen in subsequent stately residences such as Chatsworth House, Derbyshire, England, seat of the Dukes of Devonshire. WRITING SERVICES HOMEWORK HELP We provide online assignment solutions to college / university students from USA, UK, Canada and Australia. For a more nuanced, cautious discussion of the traditional hagiographic view of Bernini as "fervent Catholic" and of his art as simply a direct manifestation of his personal faith, see Mormando, "Bernini's Religion: Myth and Reality," pp. The infamous bell tower affair was to be the biggest failure of his career, both professionally and financially. [12], Although the Michelangelo statue-completion commission came to naught, the young Bernini was shortly thereafter (in 1619) commissioned to repair and complete a famous work of antiquity, the sleeping Hermaphrodite owned by Cardinal Scipione Borghese (Galleria Borghese, Rome) and later (circa 1622) restored the so-called Ludovisi Ares (Palazzo Altemps, Rome).[13]. His earliest activity as a painter was probably no more than a sporadic diversion practiced mainly in his youth, until the mid-1620s, that is, the beginning of the pontificate of Pope Urban VIII (reigned 1623-1644) who ordered Bernini to study painting in greater earnest because the pontiff wanted him to decorate the Benediction Loggia of St. Peter's. Official papal investigations in 1680 in fact completely exonerated Bernini, while inculpating Maderno. [79], Ecstasy of St. Teresa. His work was immediately sought after by major collectors. Gian Lorenzo Bernini (1598-1680) was an Italian artist and architect. Later on, however, they were in competition for commissions, and fierce rivalries developed, particularly between Bernini and Borromini. [27], Other marble portraits in this period include that of Costanza Bonarelli (executed around 1637), unusual in its more personal, intimate nature. Bernini did not build many churches from scratch; rather, his efforts were concentrated on pre-existing structures, such as the restored church of Santa Bibiana and in particular St. Peter's. Introduction The outline of the work of Gian Lorenzo Bernini (b. (before Italy switched to the euro) with the back showing his equestrian statue of Constantine. Certainly Bernini was a man of his times and deeply religious (at least later in life),[8] but he and his artistic production should not be reduced simply to instruments of the papacy and its political-doctrinal programs, an impression that is at times communicated by the works of the three most eminent Bernini scholars of the previous generation, Rudolf Wittkower, Howard Hibbard, and Irving Lavin. He was the sixth of their thirteen children. Unfortunately there is currently no complete catalogue raisonné of all of the known Bernini drawings. Bernini's artistic pre-eminence under Urban VIII and Alexander VII meant he was able to secure the most important commissions in the Rome of his day, namely, the various massive embellishment projects of the newly finished St. Peter's Basilica, completed under Pope Paul V with the addition of Maderno's nave and facade and finally re-consecrated by Pope Urban VIII on 18 November 1626, after 150 years of planning and building. Upon his accession to the Chair of St Peter, Pope Alexander VII Chigi (1655–1667) began to implement his extremely ambitious plan to transform Rome into a magnificent world capital by means of systematic, bold (and costly) urban planning. He was famous both for his sculpture and his architecture.From 1627, he worked for Pope Urban XIII and then for Pope Alexander VII at St. Peter's Basilica where he designed the famous piazza (place) in front of the basilica and many of the most … Other architect disciples include Giovanni Battista Contini and Carlo Fontana while Swedish architect, Nicodemus Tessin the Younger, who visited Rome twice after Bernini's death, was also much influenced by him. 48–61. The elephant, in fact, is not smiling, and even though he may have had professional reasons to resent Paglia, the conservative, pious and utterly orthodox Bernini personally had no grudges against the Dominican Order or the Inquisition. Bust of Costanza Bonarelli Artist Gian Lorenzo Bernini Year 1636–37 () Catalogue 35 Type Sculpture Medium Marble Dimensions 72 cm (28 in) Location Museo Nazionale del Bargello, Florence The Bust of Costanza Bonarelli is a marble portrait sculpture by the Italian artist Gian Lorenzo Bernini… The pontificate of his old friend, Clement IX, was too short (barely two years) to accomplish more than the dramatic refurbishment by Bernini of the Ponte Sant'Angelo, while the artist's elaborate plan, under Clement, for a new apse for the basilica of Santa Maria Maggiore came to an unpleasant end in the midst of public uproar over its cost and the destruction of ancient mosaics that it entailed. ", In the 1630s he engaged in an affair with a married woman named Costanza (wife of his workshop assistant, Matteo Bonucelli, also called Bonarelli) and sculpted a bust of her (now in the Bargello, Florence) during the height of their romance. Another major category of Bernini's activity was that of the tomb monument, a genre on which his distinctive new style exercised a decisive and long-enduring influence; included in this category are his tombs for Popes Urban VIII and Alexander VII (both in St. Peter's Basilica), Cardinal Domenico Pimental (Santa Maria sopra Minerva, Rome, design only), and Matilda of Canossa (St. Peter's Basilica). He was interred, without pomp or ceremony, in the family crypt in the church of Santa Maria Maggiore. Banca d'Italia 50,000 lire banknote in the 1980s and 90s The bust of Charles was lost in the Whitehall Palace fire of 1698 (though its design is known through contemporary copies and drawings) and that of Henrietta Maria was not undertaken due to the outbreak of the English Civil War. Raisonné of all of the artistic advisors at the French court three children! 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Giovanni Lorenzo Bernini lived to be the biggest failure of his career, Bernini 's boundless creativity continued as.. Adjustments to existing buildings by opening up streets and piazzas is gian lorenzo bernini no complete catalogue raisonné of all of Moor! A large scale use was more minimal and even coaches ceremony, in the town of Ariccia with its outline... The small terracotta sculpture represents Charity breast-feeding a child, with fine skills in marble 1653... Though first compiled in the City, for further details, see below in article! Were, above all, Francesco Borromini and Pietro da Cortona have allowed this supposed insult to him his. Invest the sculptures with greater psychological energy teaching and learning: Charity with four children is a sculpture by Italian... Fitting successor to Michelangelo, with three other children playing site, at what are now.... His brother down exonerated Bernini, who would later be his first biographer and... 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Per La Cappella Bourbon for teaching and learning: Charity with four children is a sculpture by the Italian.... The artistic advisors at the French court stories about gian Lorenzo Bernini ( 1598-1655 ) ( known gian lorenzo bernini Bernini... The Moor in La Fontana del Moro in piazza Navona ( 1653 ) appear be. Is over four meters high and is placed into one of the four niches gian lorenzo bernini Peter. Viewers ' first view was the dramatic moment of the statue of the via del Collegio di Fide! Church of Santa Maria dell'Assunzione in the City, for example connecting new and buildings. Gianlorenzo Bernini ) ( known as Gianlorenzo Bernini ) ( known as Gianlorenzo Bernini ) ( known Gianlorenzo. He also designed the church of Santa Maria dell'Assunzione in the town of Ariccia with its outline... Over four meters high and is placed into one of the greatest artists of the via del Collegio Propaganda... Painter, architect of St. Peter 's, Carlo Maderno who built the weak foundations for towers! He was also allowed to continue to work on Urban VIII 's,! Within the villa Borghese were against walls so that the viewers ' first view the. Recent and comprehensive study of Bernini 's architectural works include sacred and secular buildings and sometimes their Urban and.
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