In questo sfarzoso impianto scenico i membri della famiglia Cornaro, ritratti in mezzo busto e bassorilievi e collocati nelle loggette laterali, assistono all'evento mistico dell'Estasi di santa Teresa d'Avila (donde il nome dell'opera), raffigurante la santa nel pieno del rapimento dell'estasi divina.[16]. The subsequent investigations, in fact, revealed the cause of the cracks as Maderno's defective foundations and not Bernini's elaborate design, an exoneration later confirmed by the meticulous investigation conducted in 1680 under Pope Innocent XI.[30]. Diese Zustimmung wird von Ihnen für 24 Stunden erteilt. [19], The result of such an approach is to invest the sculptures with greater psychological energy. Bernini era ormai divenuto un artista di fama internazionale. 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. Non essendo più oberato dalle committenze papali, inoltre, Bernini ebbe l'opportunità di realizzare una delle opere più importanti della sua maturità: la Cappella Cornaro della chiesa carmelitana di Santa Maria della Vittoria. [12] Nell'immagine, il busto di Costanza Bonarelli, eseguito dal Bernini tra il 1636 e il 1638. Bernini would remain in Paris until mid-October. 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. 60–66 of the Introduction to his critical, annotated edition, Regarding Hibbard's classic book on Bernini (. L'unica opera di carattere privato che sfuggì alla censura pontificia fu il busto ritraente Costanza Bonarelli, l'amante segreta del Bernini: per approfondire il tumultuoso rapporto sentimentale tra i due, si consulti la nota integrativa «Costanza e Gian Lorenzo».[14]. Il giovane Gian Lorenzo trascorse i primissimi anni della propria fanciullezza a Napoli, dove il padre Pietro si era trasferito su invito del viceré per lavorare alla certosa di San Martino; Bernini si avvicinò al mondo della scultura proprio nella città partenopea, accompagnando papà Pietro al cantiere e guardandolo affascinato mentre si cimentava nei marmi. Cionondimeno Bernini pittore lo fu comunque. 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. Bernini is remembered as being particularly creative, always seeking to challenge himself and come up with new styles and ideas within this medium. ", 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. Bernini's works are therefore often characterized as perfect expressions of the spirit of the assertive, triumphal but self-defensive Counter Reformation Roman Catholic Church. [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. [45] It is also indisputable that there was an interpersonal conflict between Bernini and the young French king, each one feeling insufficiently respected by the other. Bernini was born in Naples on 7 December 1598 to Angelica Galante, a neapolitan woman, and Mannerist sculptor Pietro Bernini, originally from Florence. Under Bernini's design and direction, work continued on decorating the massive new but entirely unadorned nave of St. Peter's, with the addition of an elaborate multi-colored marble flooring, marble facing on the walls and pilasters, and scores of stuccoed statues and reliefs. 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. [69], The most important primary source for the life of Bernini is the biography written by his youngest son, Domenico, entitled Vita del Cavalier Gio. The final version did, however, include Bernini's feature of a flat roof behind a Palladian balustrade. In addition to large-scale sculpture, Bernini in the 1620s also achieved notable results in the production of head portraits with bust. Pope Alexander VII decided that he wanted a small ancient Egyptian obelisk (that was discovered beneath the piazza) to be erected on the same site, and in 1665 he commissioned Bernini to create a sculpture to support the obelisk. Bernini avrebbe poi misto l'insegnamento michelangiolesco e romano con la sua inesauribile vena inventiva, conferendo alle proprie architetture un senso nuovo della decorazione e del pittoresco. Per vendicarsi su Costanza, invece, Bernini ordinò a un servo di sfregiarla con un rasoio, ma questo non gli ubbidì e fu pertanto licenziato. On either side of the chapel the artist places (in what can only strike the viewer as theater boxes), portraits in relief of various members of the Cornaro family – the Venetian family memorialized in the chapel, including Cardinal Federico Cornaro who commissioned the chapel from Bernini – who are in animated conversation among themselves, presumably about the event taking place before them. Gian Lorenzo Bernini war einer der bedeutendsten italienischen Bildhauer und Architekten des Barocks, der für acht Päpste arbeitete (u. a. Hochaltarziborium im Petersdom 1624–1635, Kolonnaden am Petersplatz 1656–1667). Bernini a Parigi: le Colonne d'Ercole, l'Anfiteatro per il Louvre e i progetti per la Cappella Bourbon. [50] In his last two years, Bernini also carved (supposedly for Queen Christina) the bust of the Savior (Basilica of San Sebastiano fuori le Mura, Rome) and supervised the restoration of the historic Palazzo della Cancelleria as per papal commission under Innocent XI. [10] Secondo il giudizio dello storico dell'arte settecentesco Francesco Milizia, infatti, Bernini era focoso, iracondo e fiero di sguardo, ma anche cordiale, caritatevole e nemico dell'invidia e della maldicenza;[30] il poeta Fulvio Testi, invece, ne esaltò l'intelligenza brillante e vivace, definendolo «uomo da far impazzire le genti».[8]. Peter's. Sie können die … Le opere berniniane, infatti, presentavano un'integrazione tra scultura, pittura e architettura che presupponeva l'aiuto di collaboratori e discepoli, malgrado molto spesso le committenze richiedevano che l'opera ordinata fosse autografa dell'artista («di propria mano», concetto alquanto aleatorio che però consentiva anche una semplice soprintendenza). . Another outstanding sign of Bernini's enduring reputation came in the decision by architect I.M. Lo fu essenzialmente per diletto personale, concentrando la sua produzione in dipinti di piccolo formato, dall'esecuzione rapida e naturalistica che in gran parte - almeno con riguardo ai pochi quadri oggi ragionevolmente riconducibili al suo pennello - sono costituiti da ritratti e autoritratti. Buchen Sie ein Ferienhaus mit Pool bei Rom und verbringen Sie einen Tag damit, Bernini durch diese großartige Stadt zu folgen! Dalla testimonianza di Chantelou, ma anche dai molteplici ritratti, sappiamo dunque che Bernini era di media altezza, piuttosto esile, di carnagione bruna e di capelli neri fluenti, divenuti bianchi e meno abbondanti con la vecchiaia; le sopracciglia erano lunghe e folte, e la fronte era ampia, «incavata al centro e lievemente rilevata sopra gli occhi».

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