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Topic: Gian Lorenzo Bernini

	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.
	gallery.euroweb.hu /bio/b/bernini/gianlore/biograph.html (2472 words)

	Gian Lorenzo Bernini - Wikipedia, the free encyclopedia
		Gian Lorenzo Bernini (Giovanni Lorenzo Bernini) (December 7, 1598, Naples – November 28, 1680, Rome) was a towering baroque artist in 17th century Baroque Rome, where he is known mainly for his often overlapping skills as a sculptor and architect.
		Bernini's fountains was the Fountain of the Triton (1640).
		The death of his constant patron Urban VIII in 1644 released a horde of Bernini's rivals and marked a change in his career, but Innocent X set him back to work on the extended nave of St Peter's and commissioned the Four Rivers fountain in Piazza Navona.
	en.wikipedia.org /wiki/Gian_Lorenzo_Bernini (1400 words)

	Encyclopedia: Gian Lorenzo Bernini (Site not responding. Last check: 2007-11-07)
		Bernini's immense Cathedra Petri (Chair of Saint Peter, 1657-1666), in the apse of Saint Peter's, employs marble, gilt bronze, and stucco in a splendid crescendo of motion, made all the more dramatic by the golden oval window in its center that becomes the focal point of the entire basilica.
		Bernini's numerous busts also carry an analogous sense of persuasive dramatic realism, whether they are allegorical busts such as the Damned Soul and Blessed Soul (both 1619?, Palazzo di Spagna, Rome), or portraits such as those of Cardinal Scipione Borghese (1632, Galleria Borghese) or Louis XIV of France (1665, Palace of Versailles).
		Bernini's baroque style was a powerful influence on the architecture of his period.
	www.nationmaster.com /encyclopedia/Gian-Lorenzo-Bernini (882 words)

	Bernini (Site not responding. Last check: 2007-11-07)
		Gian Lorenzo Bernini, Italian architect, sculptor and scene-designer, was born in Naples in 1598 and died in Rome in 1680.
		With the election of Urban VIII in 1623, still young, Bernini took the highest place in the artistic environment of Rome and his carrier wouldn't know any decline, except a short period of leaving of a pope's court during the rule of Innocent X.
		With the project of St Peter's square Bernini resolved the problem of external space of the basilica, designed in form of two hands of Church protecting and welcoming Christians, as well as the problem of visual effect of a very wide facade of the church and domination of a huge dome.
	www.italycyberguide.com /Art/artistsarchite/bernini.htm (447 words)

	Room XVII
		Gian Lorenzo Bernini and Antonio Raggi, right-hand angel, model for a statue of the altar of St Peter's Chair (first version), cat.
		Gian Lorenzo Bernini, head of St John Chrysostom, model for a statue of the altar of St Peter's Chair, cat.
		Gian Lorenzo Bernini, head of St Athanasius, model for a statue of the altar of St Peter's Chair, cat.
	mv.vatican.va /3_EN/pages/PIN/PIN_Sala17.html (316 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.
		Bernini was fined the equivalent of something like $100,000 in today's money, what he was paid for one of his busts.
		PAUL SOLMAN: Gian Lorenzo Bernini was the man who created the angels, and as the skeptical 20th century draws to a close, creating angels seems once again a marvelous thing to have done.
	www.pbs.org /newshour/bb/entertainment/jan-june98/bernini_4-30.html (1247 words)

	Wikinfo \| Gian Lorenzo Bernini
		Gian Lorenzo Bernini (1598 (Naples) - 1680 (Rome)) was the pre-eminent baroque artist, who worked chiefly in Rome.
		Bernini depicts David in motion, in contrast to the famous statue of David by Michelangelo in which the character is preparing for action.
		One of the small baroque churches in Rome presents an ensemble of Bernini's work: Bernini was responsible not only for the architecture at Sant'Andrea al Quirinale but also the enormous statue of St. Andrew the Apostle over the high altar.
	www.wikinfo.org /wiki.php?title=Gian_Lorenzo_Bernini (506 words)

	Bernini (Site not responding. Last check: 2007-11-07)
		Gian Lorenzo Bernini (1598-1680) was recognized as the foremost artist of his day.
		Bernini's Baldacchino (1624-33), for example, which rises at the cross-section of the Latin cross in St. Peter's basilica, is an enormous cast-bronze canopy for the main altar.
		The chair is carried by four theologians and lifted further by a surge of gilded clouds moving upward toward an explosion of angels, putti, and gilt-bronze rays of light bursting forth from a stained-glass panel depicting a dove (representing the Holy Spirit).
	newton.uor.edu /FacultyFolder/rebecca_brown/old/arth100/empire/Papal/Bernini.htm (243 words)

	Bernini, Gian Lorenzo (1598-1680)
		Bernini's sculpture groups of the 1620s, however, such as the Abduction of Proserpina (1621-1622, Galleria Borghese, Rome) present the spectator with a single primary view while sacrificing none of the drama inherent in the scene.
		Bernini later created the tombs (1628-1647 and 1671-1678, respectively; Saint Peter's) of Urban VIII and Alexander VII that, in their use of active three-dimensional figures, differ markedly from the purely architectural approach to the sepulchral monument taken by previous artists.
		Bernini's most outstanding fountain group is in the spectacular Fountain of the Four Rivers (1648-1651) in the Piazza Navona in Rome.
	www.cartage.org.lb /en/themes/Biographies/MainBiographies/B/bernini/2.html (817 words)

	Gian Lorenzo Bernini, A Monograph \| Department of Art History \| Columbia University
		Bernini, Giovanni Lorenzo, 1598–1680, Italian sculptor and architect, b.
		In 1629, Bernini was appointed architect of St. Peter’s.
		Bernini was known as a wit; he wrote comedies and made numerous caricatures.
	www.learn.columbia.edu /bernmon (471 words)

	Bernini, Gian Lorenzo - Books - Magic Bean Dip
		Bernini was a precocious talent who as a youth caught the attention of Pope Paul V and became Rome's most celebrated artist, whose patrons included the wealthiest families in Europe.
		Bernini's real name was Michaelangelo, but he hid the fact so that his own work would stand apart from that of the greatest sculptor of all time.
		Bernini's over-the-top Baroque style earned him both accolades and catcalls during his own lifetime, and in the centuries after his death in 1680, his genius was downplayed and his works derided.
	v1.magicbeandip.com /store/browse_books_1011 (2471 words)

	Harvard University Art Museums - Press releases, 1998
		Gian Lorenzo Bernini perfected combining architecture and the plastic arts for the expression of resurgent Catholic devotion.
		Five of the clay sketches in the Fogg installation are studies by Bernini for the angels of the Ponte Sant' Angelo.
		Funding for Gian Lorenzo Bernini: Sketches and Clay was provided by the Samuel H. Kress Foundation, the Massachusetts Cultural Council, The Andrew W. Mellon Foundation and the Seymour Slive Teaching Exhibition Fund of the Harvard University Art Museums.
	www.artmuseums.harvard.edu /press/released1998/bernini.html (1502 words)

	NERONE-The Insider Guide: GIAN LORENZO BERNINI (Site not responding. Last check: 2007-11-07)
		This was Bernini's first architectural commission when he was asked by the Barberini Pope Urban VIII to remodel the ancient basilica for the jubilee of 1625.
		The polychrome statue of the young Polish saint by Pierre Legros the younger (1666-1719) was inspired by Bernini's famous Ecstacy of Saint Teresa made for the Cornaro Chapel in the near-by church of Santa Maria della Vittoria between 1645-1652.
		Although the Basilica was almost completed by the time of Bernini's maturity he has left an indelible mark on the interior decoration by the addition of the imposing gilt bronze Baldacchino (1624-33) and the monumental encasement for the Cathedra Petri (tha chair of Saint Peter) designed and cast between 1657 and 1666.
	www.nerone.cc /nerone/archivio/arch45.htm (623 words)

	Gian Lorenzo Bernini (1598-1680) \| Special Topics Page \| Timeline of Art History \| The Metropolitan Museum of Art (Site not responding. Last check: 2007-11-07)
		Gian Lorenzo Bernini dominated the Roman art world of the seventeenth century, flourishing under the patronage of its cardinals and popes while also challenging contemporary artistic traditions.
		Gian Lorenzo first trained in the Roman workshop of his father Pietro, assisting with such sculptures as a pair of terms representing Spring and Fall in the guise of Flora and Priapus (
		Bernini further demonstrated his ability as an architect in the Church of Sant'Andrea al Quirinale (begun 1661, Rome), where the interplay of concave and convex surfaces in the interior guide the viewer's eye around the centralized plan.
	www.metmuseum.org /toah/hd/bern/hd_bern.htm (920 words)

	The Baroque in Rome: Four Rivers Fountain - NGA
		Gian Lorenzo Bernini was one of the most innovative architects and sculptors of the Baroque.
		Designed and built between 1648 and 1651 for Pope Innocent X Pamphili, the fountain commemorates the pope's redirection of water from the Acqua Vergine (one of Rome's principal water supplies) to the square in front of his family palace, the Palazzo Pamphili.
		Bernini's fountain ingeniously incorporates an ancient Egyptian obelisk, which had been recovered from the Circus Maxentius in Rome, with a tall stone base.
	www.nga.gov /exhibitions/2000/baroque/indepth2.htm (326 words)

	The Clark - Examine Gian Lorenzo Bernini’s Achievements and His Papal Connections During Lecture October 2 at the ...
		century sculptor and architect Gian Lorenzo Bernini with “The Power Beneath Michelangelo’s Dome: Bernini and the Popes.” This free lecture will be held in the Clark auditorium on Sunday, October 2 at 2 pm, as part of Art in the World, a series exploring international issues in the art field.
		Bernini lived at a time – the seventeenth century - when the papacy was among the most important political powers in Europe. The construction of St. Peter’s and its interior decoration were completed during Bernini’s life – and much of it under his direction.
		Prior to joining the Clark staff in 2005, Morris was associate director for exhibitions and collections management, and curator of European sculpture, decorative arts, and prints at the Virginia Museum of Fine Arts. She received her Ph.D. in art history from the University of Virginia in 2005.
	www.clarkart.edu /make_a_visit/press_releases/content.cfm?ID=481 (214 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.
		The hero is depicted when, having taken the stone from his pouch, he twists his body in the opposite direction, tensioning it spring-like, then stops to think for a spilt second before releasing the stone that will slay Goliath.
	www.wga.hu /html/b/bernini/gianlore/sculptur/1620/david.html (289 words)

	Listed Items \| Masterpieces of Western Art Database \| Department of Art History and Archaeology \| Columbia University (Site not responding. Last check: 2007-11-07)
		Bernini, St. Peter's, View of the façade with Bell Towers as planned by Bernini, and before the construction of the Piazza Colonnade, 1636-41, (fresco by an anonymous artist)
		Bernini, Bozzetto (model) for Equestrian Statue of King Louis XIV of France, c.
		Bernini, Monument with Elephant surmounted by an Obelisk, 1665-67, Piazza Sanata Maria sopra Minerva, Rome
	www.learn.columbia.edu /cgi-bin/arthum/item?skip=680 (543 words)

	Three chapels by Gian Lorenzo Bernini (Site not responding. Last check: 2007-11-07)
		Since his early works for Cardinal Scipione Borghese, Bernini had been interested in the effects of light over a sculpture and had given clear indications on how his sculptures ought to be positioned to obtain the effect he had planned for them.
		Bernini was unhappy about this central light and for this chapel he designed four lateral windows and making use of the thickness of the walls he directed the light of two of them towards the very end of the chapel.
		Bernini's sculptures with very few exceptions always show an action: a classic example is the comparison between Michelangelo's (or Donatello's or Verrocchio's) David and Bernini's David, whom we see in the act of throwing the stone.
	utenti.quipo.it /romeartlover/Cappell1.html (626 words)

	BERNINI, Gian Lorenzo (Site not responding. Last check: 2007-11-07)
		He was born in Naples in 1598, the son of a Florentine sculptor, Pietro Bernini.
		Bernini's colonnade in front of St Peter's transformed the approach to the church into a magnificent reception area for pilgrims to the city.
		Bernini's few pictures are mainly head studies and portraits.
	www.nationalgallery.org.uk /cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/artistBiography?artistID=58 (195 words)

	Praying Statues
		Gian Lorenzo Bernini made use of this kind of sculptures in designing Cappella Raimondi in S.
		Giorgio Bolognetti, bishop of Rieti, had contributed to such an extent to the cost of the decoration of the church that he was allowed to erect the funeral monuments for his family in the nave: for this reason the church was also called il Cappellone (the large chapel).
		In general he showed strict links with Bernini's school, but he was also influenced by the growing relevance of French artists and more in general of France on Roman society, as we can see in another monument in the little church of S.
	utenti.quipo.it /romeartlover/Prayer.html (1092 words)

	Gian Lorenzo Bernini -- Britannica Student Encyclopedia (Site not responding. Last check: 2007-11-07)
		Perhaps the greatest sculptor of the 17th century and one of its outstanding architects, Gian Lorenzo Bernini created the baroque style of sculpture.
		He developed it to such an extent and it became so admired and popular that it continued for at least two more generations in various parts of Europe, and 18th-century Italian sculpture was based on it.
		He differed from Gian Lorenzo Bernini and other contemporaries in basing his designs on geometric figures (modules) rather than...
	www.britannica.com /ebi/article-9273193 (732 words)

	Bernini, Giovanni Lorenzo on Encyclopedia.com (Site not responding. Last check: 2007-11-07)
		BERNINI, GIOVANNI LORENZO [Bernini, Giovanni Lorenzo], 1598-1680, Italian sculptor and architect, b.
		Between 1658 and 1670 Bernini designed three churches: San Tomaso di Villanova at Castelgandolfo, Santa Maria dell'Assunzione at Ariccia, and Sant' Andrea al Quirinale in Rome.
		Bernini's d'Aste family tombs in S. Maria in Via Lata, Rome: a reconstruction.
	www.encyclopedia.com /html/b/bernini.asp (673 words)

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