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	Gian Lorenzo Bernini - Wikipedia, the free encyclopedia
		Bernini was born in Naples to a Florentine family and accompanied his father Pietro Bernini, a capable Mannerist sculptor himself, to Rome.
		Bernini's David (illustration, left) is poised to release his rock, in contrast to poses of the Florentine Davids of prior generations, such as the triumphant repose of the famous Michelangelo's David or the haughty effeteness of Donatello's or Verrocchio's Davids.
		Bernini, however, soon became unpopular in the French court, for he praised the art and architecture of Italy at the expense of that of France: he said, for example, that a painting by Guido Reni was worth more than all of Paris.
	en.wikipedia.org /wiki/Bernini (2151 words)

	CATHOLIC ENCYCLOPEDIA: Giovanni Lorenzo Bernini
		Bernini in his art is the most industrious of Roman artists, and his work tends largely to the baroque.
		Bernini made a bust and an equestrian statue of Louis XIV which were in a style agreeable to the taste of that monarch.
		Bernini triumphed over all his detractors and became in the end as rich as he was famous.
	www.newadvent.org /cathen/02510b.htm (1546 words)

	Biography
		Bernini created the Baroque style of sculpture and developed it to such an extent that other artists are of only minor importance in a discussion of that style.
		Bernini's sensual awareness of the surface textures of skin and hair and his novel sense of shading broke with the tradition of Michelangelo and marked the emergence of a new period in the history of Western sculpture.
		Bernini's most spectacular religious decoration is the Throne of St Peter, or the Cathedra Petri (1657-66), a gilt-bronze cover for the medieval wooden throne (cathedra) of the pope.
	www.wga.hu /bio/b/bernini/gianlore/biograph.html (2422 words)

	Gianlorenzo Bernini
		Bernini - The Sculptor of the Roman Baroque
		His David (Rome, Borghese), unlike the images created by Donatello, Verrocchio and Michelangelo, is in the very act of using each muscle in his body to slay the giant, as the grim set of his jaw confirms: one can feel the sweat and strain in his whole frame.
		Bernini was less lucky, for his design for a new Louvre, the ostensible reason for his visit, was discarded and his great equestrian statue of the king, eventually delivered at the end of Bernini's life, was dishonoured.
	www.artchive.com /artchive/B/bernini.html (2936 words)

	Gian Lorenzo Bernini (Site not responding. Last check: 2007-10-09)
		Bernini was born in Naples (A port and tourist center in southwestern Italy; capital of the Campania region) by a Florentine family and accompanied his father Pietro Bernini (additional info and facts about Pietro Bernini), a well known Mannerist (additional info and facts about Mannerist) sculptor himself, to Rome.
		The twisted torso and furrowed brow of Bernini's "David" is symptomatic of the baroque's interest in dynamic movement over High Renaissance (The period of European history at the close of the Middle Ages and the rise of the modern world; a cultural rebirth from the 14th through the middle of the 17th centuries) stasis.
		Bernini's works are featured in Dan Brown (additional info and facts about Dan Brown) 's novel Angels and Demons (additional info and facts about Angels and Demons) as markers and altars of science (additional info and facts about altars of science).
	www.absoluteastronomy.com /encyclopedia/g/gi/gian_lorenzo_bernini.htm (839 words)

	Hidden symbolism in Bernini's statue of 'David fighting Goliath'
		Bernini's statue is faithful in most aspects to the biblical story: David is swinging the slingshot toward Goliath, while the armor he chose not to wear - lays at his feet.
		It appears that Bernini saw importance in being familiar with the biblical scenes one is depicting in art, as is evident from his remark regarding the painting of the Crucifixion by Sarrazin [2].
		Bernini is said to have given David his own likeness, by sculpturing it while his patron was holding a mirror in front of him as he worked[3].
	www.geocities.com /Vienna/Choir/4792/david.html (1075 words)

	The Chrysler Museum of Art : Education & Events
		Gianlorenzo Bernini is celebrated as the greatest master of the High Baroque style in Italy during the seventeenth century.
		In Bernini's hands, these characteristics of the Baroque were taken to their pinnacle with earlier masterpieces such as The Ectasy of St. Teresa (1647-52, Santa Maria della Vittoria, Rome).
		Interpretations of Bernini's last work vary among scholars, but all seem to agree that it has a mysticism and reverence that marks a different state of mind in the artist at the close of his earthly existence.
	www.chrysler.org /wom/wom0303.asp (808 words)

	Artist of the Week: Gianlorenzo Bernini - Stormfront White Nationalist Community (Site not responding. Last check: 2007-10-09)
		The son of late Mannerist sculptor Pietro Bernini, Gianlorenzo Bernini was destined to surpass his father and become not only the greatest sculptor- architect of the 17th century, but the foremost pioneer of the new Baroque style.
		Bernini was also impressed by the classical Greek and Roman sculptures he encountered, such as the Laocoon, and the Apollo of Belvedere.
		It is a mark of Bernini’s unparalleled skill as a sculptor that Daphne’s facial expression seems to simultaneously convey a sense of horror at her plight, alarm at Apollo’s first touch, and shock at her own unexpected transformation.
	www.stormfront.org /forum/showthread.php?t=149847 (1572 words)

	Online NewsHour: Fury of Creation -- April 30, 1998
		Bernini was, after all, the sculptor most responsible for making Rome a city of fountains, the architect entrusted with redesigning St. Peter's Cathedral, the man who created its piazza, and surrounded it with two colonnades, which act as welcoming arms.
		It lavished attention on his David, caught in a split second before downing Goliath, Apollo at the moment he overtakes Daphne and she, in defense, turns into a tree; Pluto, king of the underworld, about to violate immortal beauty.
		Bernini was fined the equivalent of something like $100,000 in today's money, what he was paid for one of his busts.
	www.pbs.org /newshour/bb/entertainment/jan-june98/bernini_4-30.html (1247 words)

	bernini (Site not responding. Last check: 2007-10-09)
		Bernini's "David" was made in 1623 and is a very energetic depiction of David.
		Bernini's bust of King Louis XIV is an impressive portrait of the ostentatious monarch.
		Bernini was the epitome of a Baroque artist with his energetic style, his works always seem to be moving whether they are busts or sculptures.
	student.elon.edu /cherman/bernini.html (1161 words)

	David by BERNINI, Gian Lorenzo
		The oversize cuirass leant to David by King Saul before the encounter lies on the ground with the harp David will play after his victory, which is decorated with an eagle's head, a symbolic reference to the Borghese family.
		The right side shows David's movements, his stride is almost a leap as he aims his sling; seen from the front the pose is frozen, just one second before the fatal shot, and seen diagonally there is a rhythmic balance between movement and pose.
		According to contemporary sources the head of David is the self-portrait of the artist and Cardinal Maffeo Barberini (who visited Bernini several times in his atelier) himself held the mirror during its execution.
	gallery.euroweb.hu /html/b/bernini/gianlore/sculptur/1620/david0.html (240 words)

	Gianlorenzo Bernini and stone (Site not responding. Last check: 2007-10-09)
		Bernini broke his marble out of the columnar, broke it out of the sense of piling bricks onto bricks.
		Bernini achieved a sense of movement, an emotional quality in his sculpture not later seen until Rodin -- and Rodin worked in clay, molding and shaping it to suit.
		Bernini was always a misplaced chisel, an overstressed bridge, an inadvertent hammer swing, from ruining his creations...
	www.davidalexandersmith.com /travel/italigno/bernini.html (382 words)

	Bernini, Giovanni Lorenzo on Encyclopedia.com (Site not responding. Last check: 2007-10-09)
		Many of his early statues, such as the David (before 1623-24), Rape of Proserpine (1622), and Apollo and Daphne (1625), were done for Scipione Cardinal Borghese, one of the most important patrons of the period.
		Bernini was known as a wit; he wrote comedies and made numerous caricatures.
		Bernini's d'Aste family tombs in S. Maria in Via Lata, Rome: a reconstruction.
	www.encyclopedia.com /html/b/bernini.asp (653 words)

	David by BERNINI, Gian Lorenzo
		When he tackled his David in 1623-224, Bernini knew that he was risking comparison with works in a sculptural tradition that included the great names of the artistic culture of the Italian Renaissance, from Donatello to Verrocchio and Michelangelo.
		In comparison to the earlier celebrated David sculptures, Bernini paid particular attention to the biblical text and sought to follow it as closely as possible.
		All the strain that has been built up shows in David's face, a self-portrait that was executed with Cardinal Borghese's assistance, for he volunteered to hold a mirror up to enable the twenty-five-year-old Bernini to complete his work.
	www.wga.hu /html/b/bernini/gianlore/sculptur/1620/david.html (289 words)

	ARTH381/581 - Readings
		Therefore the pope indicated to him his pleasure that Bernini commit him- self to apply much of his time to the study of architecture and painting, for the purpose of uniting these beautiful skills at their highest level to his other virtues.
		Bernini made her appear to be in the act of writing in golden letters the words: "Urbanus VIII.
		Bernini said of himself that if he put together all the time he spent at meals and in sleep during his life, he thought all such inactivity would not come to a full month.
	www.louisville.edu /a-s/finearts/VRC/buser381/berninitext.html (4303 words)

	The nudity of Michelangelo's David
		The idea that David was nude during the battle might be further supported by the fact that Jonathan, king Saul's son, gave all his clothes and his armor and sword to David to wear after his victory (1 Samuel, 17:57-18:4).
		David's nudity at this time of the battle is reconfirmed by Michelangelo's sketch of the statue, depicting the victorious David, where Goliath's head is visible under the Hero's feet, and a slingshot is in David's hand (below him) [3].
		Michelangelo's statue of David is 5.17 Meters tall [9], and was referred to as "Il Gigante" (the Giant) [10], it appears that Michelangelo was fascinated by giant figures from 1501-1504, at the time he made the statue [11].
	www.geocities.com /Vienna/Choir/4792/davidm.html (1708 words)

	David
		David Enthroned Holding a Scepter and an Orb, Unknown Austrian, 1420.
		The Triumph of David and Saul, Francesco Pesellino, 1445-55.
		The David of Casa Martelli, Bernardo Rossellino, 1461-79.
	www.textweek.com /art/david.htm (317 words)

	Free Essay David Sculptures: An Analysis (Site not responding. Last check: 2007-10-09)
		David, who was destined to be the second king of Israel, destroyed the Philistine giant Goliath with stone and a sling.
		Donatello, whose David was the first life-size nude statue since Classical times, struck a balance between Classicism and the realism by presenting a very real image of an Italian peasant boy in the form of a Classical nude figure.
		Michelangelo's David depicts the ideal youth who has just reached manhood and is capable of great physical and intellectual feats, which is part of the Classical tradition.
	mail.echeat.com /essay.php?t=22 (1133 words)

	AcademicDB - Looking back on the history of art.
		His body is twisting at the waist and distorts far to one side, actually being in the process of killing Goliath with his slingshot and stone.
		The marble medium of the figure absorbs light and forms shadows on the body of David accentuating his power and force (Schneider).
		Bernini sculpted the muscles of the character to be bulging and tense, almost to convey the anxiety of...
	www.academicdb.com /looking_back_on_history_art_9832 (285 words)

	Archives & Museum Informatics: Museums and the Web 2005: Papers: Bogen, Kuck...Bernini's Borghese
		Gian Lorenzo Bernini was an important sculptor and architect of the 17th century.
		The David, for example, is positioned in the center of a room, although there is no doubt that the back side of the sculpture was meant to stand close to a wall; this side contains less detail and has a rougher, more unfinished look.
		Bernini himself did not document the original setup, and it is not described in contemporary literature.
	www.archimuse.com /mw2005/papers/bogen/bogen.html (4278 words)

	Two Exemplar of Early Baroque in Rome
		Bernini depicted the moment when David is going to attack Goliath with his sling.
		The cuirass lent to David by King Saul and a harp with an eagle head lie on the ground.
		The eagle head is the symbolic reference to the patron, Borghese family.[7] The well-known facial expression of the ¡§David¡¨ was believed to be the self-portrait of Bernini.
	www.coursework.info /i/72680.html (546 words)

	David by Bernini (Site not responding. Last check: 2007-10-09)
		Bernini conceived and carved his statue of David in seven months, a remarkable achievement in itself.
		Bernini causes the viewer to become a part of his David statue.
		The features are those of the twenty-four year old Bernini whose patron, Cardinal Barberinik, held a mirror while the youthful sculptor made a face and carved it.
	www.sculpturegallery.com /sculpture/david_by_bernini.html (281 words)

	Michelangelo's David
		When the statue of David was placed on the square in front of the city hall (where you can now find a copy), the people of Firenze immediately identified with him, as a cunning victor over superior enemies.
		Note how David's character traits, are considered more important than his victory over Goliath, which is why Michelangelo depicted him before the battle, strong-willed and ready to fight.
		There are two more copies of David in Firenze, one in front of the old city hall, and one on a hill overlooking the city.
	vlsi.colorado.edu /~rbloem/david.html (596 words)

	MSN Encarta - Search Results - Bernini
		Bernini, Gianlorenzo, full name Giovanni Lorenzo Bernini (1598-1680), the single most important artistic talent of the Italian baroque.
		Gianlorenzo Bernini was the outstanding personality of the baroque age; like Michelangelo, he was a child prodigy, had a long and prolific career,...
		Bernini, Gianlorenzo : influences on Gianlorenzo Bernini: Painting by Giovanni Lanfranco
	ca.encarta.msn.com /Bernini.html (91 words)

	baroque (Site not responding. Last check: 2007-10-09)
		Bernini’s design for the piazza of St. Peter’s was constructed in two expansive arcades extending from the façade of the church and culmination in semicircular “arms” enclosing an oval space.
		It was Bernini’s David however, that best testifies to the artist’s genius and illustrates the dazzling characteristics of Baroque sculpture.
		Bernini combines the pain and pleasure that she described in the submissive swoon on her face.
	www.olsenross.com /baroque.html (4212 words)

	romeguide - Borghese Galery - The David hall (Site not responding. Last check: 2007-10-09)
		At present, the room is dominated by the statue of David, commissioned by Cardinal Scipione and carved by Gian Lorenzo Bernini when he was 26 years old in 1624.
		Bernini portrays the young boy as a pagan hero while he is plying the sling to throw the stone against Goliath.
		At the foot of the statue are the armour and the eagle headed harp, which is the Borghese’s escutcheon.
	www.romeguide.it /borghese/room2.html (272 words)

	Free-TermPapers.com - The Davids: A Comparison
		Michelangelo’s David is an incredible representation of both the Bible story, in that it closely follows the scripture, and reason, in the references to Greek philosophy.
		Also, Bernini’s David is clothed in a tunic and is carrying a pouch of some sort.
		Bernini’s David has the most emotional appeal, where Donatello’s has the most serene and innocent qualities.
	www.free-termpapers.com /tp/5/ame264.shtml (926 words)

	The Baroque Style
		(Bernini, an extremely religious artist, would go on to depict religious subjects in his later career.) In this story, Daphne is saved from the rape by the gods, who turn her into a laurel tree.
		Bernini's depiction of the biblical hero is much more dynamic than Michelangelo's.
		David's feet are spaced widely apart and he stares ahead at Goliath, who is in the viewer's space outside the zone of the sculpture.
	www.bluffton.edu /~humanities/art/brq/style.htm (938 words)

	critique.html (Site not responding. Last check: 2007-10-09)
		The artist Gianlorenzo Bernini was born in 1598 and died in 1680, he was an Italian Baroque artist.
		Bernini did a marvelous job of making the toga that David is wearing actually look like cloth.
		He reinforced Davidís strength by making it so that his chiseled chest and stomach muscles could be seem through his toga.
	tiger.towson.edu /~mdifil1/critique.html (356 words)

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