Cavalier Bernini, that very famous sculptor who made the statue of the Pope and the Daphne [...] who is the Michelangelo of our century [... and who] is a man to drive people crazy. Il palazzo Barberini, invece, denota un più deciso orientamento verso la classicità, tanto che qui Bernini riprese la scansione in tre ordini di arcate del Colosseo e del teatro di Marcello, aggiungendovi gli artifici prospettici delle finestre della loggia suprema. The most important commission by Bernini, executed entirely by him in just six months in 1674, under Clement X was the statue of the Blessed Ludovica Albertoni, another nun-mystic. After this, one of the rare failures of his career, Bernini retreated into himself: according to his son, Domenico. Bernini's projects were essentially rooted in the Italian Baroque urbanist tradition of relating public buildings to their settings, often leading to innovative architectural expression in urban spaces like piazze or squares. 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. Tra gli strumenti utilizzati dal Bernini, si possono citare la subbia (utilizzata per sbozzare il blocco), la gradina, lo scalpello, il ferrotondo, la raspa, l'unghietto, il trapano a corda e abrasivi, con un iter operativo che non ammetteva la possibilità di ripensamenti in corso d'opera o aggiustamenti successivi: da escludere, infine, che Bernini usasse per rendere le superfici ulteriormente lisce patinature finali, come rinvenuto durante le analisi delle sue sculture.

La prima attestazione dell'attività teatrale del Bernini risale al 1633, quando il rappresentante del duca di Modena a Roma scrisse:[10], «Il Cavaliere Bernini ch'è il più famoso scultore de nostri tempi rappresentò lunedì sera in Compagnia de suoi scolari una Comedia piena di motti frizzanti, e di punture acutissime contro molti di questa Corte, e contra li costumi corrotti del nostro secolo». In such an environment, Bernini's artistic style flourished. A second. [39] Equally, Bernini moderated the presence of colour and decoration within these buildings, focussing visitors' attention on these simple forms that underpinned the building. There was also a succession of painters (the so-called 'pittori berniniani') who, working under the master's close guidance and at times according to his designs, produced canvases and frescos that were integral components of Bernini's larger multi-media works such as churches and chapels: Carlo Pellegrini, Guido Ubaldo Abbatini, Frenchman Guillaume Courtois (Guglielmo Cortese, known as 'Il Borgognone'), Ludovico Gimignani, and Giovanni Battista Gaulli (who, thanks to Bernini, was granted the prized commission to fresco the vault of the Jesuit mother church of the Gesù by Bernini's friend, Jesuit Superior General, Gian Paolo Oliva). Tutti gli elementi decorativi venivano in questo modo magistralmente resi, con un'attenzione speciale rivolta agli incarnati, levigati sino alla perfezione.[24]. 48–61. Fu per questi motivi che l'esperienza francese durò pochi mesi: il 20 ottobre Bernini fece ritorno a Roma, dopo comunque aver assistito alla posa della prima pietra del suo progetto che non ebbe alcun seguito. Bernini refurbished and expanded the existing palazzo on the Via della Mercede site, at what are now Nos.

For the Albertoni commission, see F. Mormando, For Bernini's marriage to Caterina, and a list of Bernini's children, see. As one Bernini scholar has summarized, "Perhaps the most important result of all of the [Bernini] studies and research of these past few decades has been to restore to Bernini his status as the great, principal protagonist of Baroque art, the one who was able to create undisputed masterpieces, to interpret in an original and genial fashion the new spiritual sensibilities of the age, to give the city of Rome an entirely new face, and to unify the [artistic] language of the times.



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