Wittkower, Rudolf, and Pino Guidolotti. Bernini: The Sculptur of the Roman Baroque. London: Phaidon, 2013. Print. Ziolkowski, Theodore. Classicism of the Twenties: Art, Music, and Literature. Chicago: U of Chicago, 2015. Print. Chaos & Classicism: Art in France, Italy, and Germany, 1918-1936. New York: Solomon R. Guggenheim Foundation, 2010. Print. Winterer, Caroline. The Culture of Classicism: Ancient Greece and Rome in American Intellectual Life: 1780-1910. Baltimore: Johns Hopkins UP, 2002. Print. Hauser, Arnold. The Social History of Art. London: Routledge, 1999. Print. Mormando, Franco. Bernini His Life and His Rome. Chicago: U of Chicago, 2011. Print. Bacchi, Andrea, Catherine Hess, Jennifer Montagu, and Anne-Lise Desmas. Bernini
During World War II many places and artworks came to be of historical and artistic significance. Lots of ...
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Bowron, Edgar Peters., Peter Björn. Kerber, and Pompeo Batoni. Pompeo Batoni: Prince of Painters in Eighteenth-century Rome. New Haven: Yale UP, 2007. 100-50. Print.
2) Bailey, Gauvin A. Between Renaissance and Baroque: Jesuit art in Rome 1565-1610. University of Toronto Press. 2003.
Winton, Alexandra G. "The Bauhaus, 1919–1933." The Metropolitan Museum of Art. Web. 03 May 2014.
...i revolutionized the Baroque era with his unique sculpting style. His implemented the use of indentation, shadowing, muscularity and emotion as points of emphasis for new Baroque sculptures. In his work for Cardinal Borghese, Bernini sculpted the famous Pluto and Proserpina which is often cited as his finest example of indentation and emotion as he captures the the moment of Hades picking up Persephone to take her back to the Underworld to be his queen. Along with his countless sculptures, he designed many focal points and plazas in Italy including St. Peter’s Square and his Fountain of Four Rivers in the Piazza Navona. Bernini also designed many tombs and architecture in St. Peter’s with his Tomb of Pope Urban VIII, the Baldacchino and the Tomb of Pope Alexander VII. Through his architecture, he made St. Peter’s Basilica the focal point of the Catholic Church.
...r. "Ancient Greece." Gardner's art through the ages the western perspective. 13th ed., Backpack ed. Boston, Mass.: Wadsworth Cengage Learning, 2010. 101, 123,129. Print.
Reni moved to Rome in 1601, where he devoted himself to drawing and redrawing antique statues, both with pencil and pen. He familiarized himself with the spirit of Greek art. His first...
Gianlorenzo Bernini, famous for his production of pieces such as The Ecstasy of Saint Teresa and his sculptural program for the Cornaro Chapel, was yet another artist that took on the task of sculpting a representation of David. Statues of David from the story of David versus Goliath have been created by the likes of Michelangelo, Verrocchio, and Donatello. From these three figures, Bernini’s David draws the attention of the viewer more as it depicts David mid action. “The Baroque style is fundamentally theatrical in character, and the space it creates is theatrical space” (Sayre 327). Features in this presentation of David go against the already established elements seen in the Renaissance Davids.
Bernini was given the task of finishing St. Peters after Maderno died in 1629 (676). Baroque style, as defined in the book, is a style of “persuasion” and seems to focus on appealing to the senses as well as being very dramatic in terms of sensuality, emotion, movement, and expressiveness. Everything about baroque art was splendor and opulent. Another change that was prevalent during this time that was not in the High Renaissance was the shift from the Catholic Church being the sponsor for most of the art to wealthy people. That was shown through the art because there were not as many religious themes or religious underlying tones unless the artist really wanted to include that in a piece. Bernini’s “Baldacchino” in St. Peters exemplifies basically
Art In European History. “Neo-Classicism and French Revolution – Jacques-Louis David”. Boston College. Web. 5th May 2013.
Greek literature was one of the numerous Greek accomplishments from which Romans drew immense influence. The Romans picked up first on the Greek embrace of rhetoric, which became an educational standard, given that a man’s rhetoric, his ability to “push the buttons” of the subject audience by way of speeches, supplemented the man’s rise to political power. But as rhetoric began to diminish from Roman daily life following Rome’s imperialization, identical persuasive technique began to show itself in Roman literature. But Greek themes were just a backbone in Roman literature, and as time, progressed, Rome established a unique literary style, which, alongside Greek Literature, had a profound influence on the future History of Europe.
The most prominent sculptor of the Italian Baroque, Gian Lorenzo Bernini, was born in Naples in 1598. A child prodigy, he quickly gained the attention of wealthy and well-to-do patrons across Italy, though he spent the majority of his life working in Rome. It is in Rome that we find what is widely considered Bernini’s greatest artistic masterpiece, the Ecstasy of St. Teresa (Fig. 1) within the Cornaro Chapel (Fig.3) of Santa Maria della Vittoria. Though this paper will primarily address the Ecstasy itself, it would be a critical mistake to separate this key sculptural piece from the Cornaro Chapel as a whole. True to Baroque tradition, Bernini worked within the concept of ‘bel composto’ and intended the two to be understood as a whole. The
Coplestone, Frederick. A History of Philosophy- Greece and Rome. New York: Image Books,1962. (pgs 64-70).
Holt, Elizabeth G. From the Classicist to the Impressionists: Art and Architecture in the 19th Century. New Haven, CT: Yale University Press, 1966.