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Gianlorenzo Bernini

Gianlorenzo Bernini. Cornaro Chapel. GIANLORENZO BERNINI, Cornaro Chapel, Santa Maria della vittoria , Rome, Italy, 1645-1652. GIANLORENZO BERNINI, inerior of the Cornaro Chapel, Santa Maria della vittoria , Rome, Italy, 1645-1652.

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Gianlorenzo Bernini

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  1. Gianlorenzo Bernini Cornaro Chapel

  2. GIANLORENZO BERNINI, CornaroChapel, Santa Maria dellavittoria, Rome, Italy, 1645-1652.

  3. GIANLORENZO BERNINI, inerior of the Cornaro Chapel, Santa Maria dellavittoria, Rome, Italy, 1645-1652. • For the Cornaro Chapel, he drew on the full capabilities of architecture, sculpture, and painting to create and intense emotional experience for worshipers.

  4. GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria dellaVittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”. • It depicts St. Teresa, a nun, and one of the great mystical saints of the Counter-Reformation; after the death of her father, she fell into a trance, saw visions and attributed the pain to the fire-tipped arrow of divine love that an angel thrusts into her heart. • Connects spiritual awakening to sexuality.

  5. Bernini created a chimney that trapped real light to give his sculpture a dramatic effect.

  6. The Cornaro family. The patrons for the church.

  7. Other works by Bernini

  8. The dramatic gesture of embrace that Bernini’s colonnade makes as worshipers enter Saint Peter’s is a welcome symbol to the members of the Roman catholic church during the Counter-Reformation.

  9. Figure 24-4 alternate view Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506–1666.

  10. Figure 24-5 GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, 100’ high. • Bernini’s baldacchinoserves both functional and symbolic purposes marking Saint Peter’s tomb and the high alter of the church and it visually bridges human scale to the lofty vaults and the dome • baldacchino-=is Italian for “silk from Bagdad” as for a cloth canopy; stands 100 ft. high

  11. Figure 24-6 GIANLORENZO BERNINI, ScalaRegia (Royal Stairway), Vatican City, Rome, Italy, 1663–1666. • By gradually reducing the distance between the columns and walls as the stairway ascends, Bernini created the illusion that the Scala Regina is of uniform width and its isles continue for its full length • Because the original passageway connecting the papal apartments to St. Peter’s was dark and dangerous, Pope Alexander VII commissioned Bernini to replace it

  12. GIANLORENZO BERNINI, David, 1623. Marble, 5’ 7” high. Galleria Borghese, Rome. • Although a great Baroque architect, Bernini’s fame comes primarily from sculpture which energetically express the Italian Baroque spirit in their expansiveness and theatricality • The element of time plays and important role in his work • In his emotionally-rich “ David”, the work seems to be moving through both space and time in portraying the bursting forth of energy from David.

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