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Gian Lorenzo Bernini (1598-1680) was the most influential sculptor of his age. Inventive and skilled, he virtually created the Baroque style. In his religious sculptures he excelled at capturing movement and extreme emotion, uniting figures with their setting to create a single conception of overwhelming intensity that expressed the fervour of Counter-Reformation Rome. Intensity and drama also characterize his portraits and world-famous Roman fountains. This monograph provides an authoritative introduction to all aspects of Bernini's sculpture, while the full catalogue gives detailed information on his complete oeuvre.
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Customer Reviews
Most Helpful Customer Reviews
27 of 27 people found the following review helpful
Format:Paperback
The photographs in this book are suberb, with several of Bernini's greatest works photographed from a number of unusual and illuminating angles. His main works are shown full page, a number of them in colour, and there is an exhaustive catalogue at the back showing all of his work with informative information on each. Consequently Rudolf Wittkower has produced a book that not only looks good as a coffee table browse but which contains much detailed information of enormous interest to anyone interested in this great sculptor's work at any level.
2 of 2 people found the following review helpful
Format:Paperback
This book on Bernini was purchased as a present for a relative. The photographs, although mostly black and white, are excellent and include unusual angles and close-ups. Bernini is a favourite of my aunt and she was delighted with the book.
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7 reviews
20 of 20 people found the following review helpful
A Must For Bernini Scholars
5 Sep 2000
Format:Paperback
Wittkower's work is simply stated an artistic anthology of the achievements and life of the chief architect of the Roman Baroque. His perseptive commentary and pertinent factual information are extremely useful to all who attempt to comprehend the complex messages behind all of Bernini's work. While the author stays committed to rendering the artist as a sculptor and architect, one wishes that Wittkower would delve more into the environment, particularly political and religious movements, that continually serve as an impetus and background to Bernini's chef d'oeuvres. Regardless, Wittkower's inclusion of both color and detailed black and white plates allow the viewer to observe the Baroque master's works in their appropriate light.
14 of 14 people found the following review helpful
bellissima
17 Jun 2002
Format:Paperback
Wittkower has created a book that is easily enjoyable for those familiar of Bernini, or those starting to learn about art/archetecture of the Baroque. I highly reccommend this book to anyone remotely interested in this period, as the photos are clear and the explanations are not filled with jargon a lay person could not understand. bravo.
7 of 7 people found the following review helpful
Glorious study of a master
28 April 2010
Format:Paperback
With a breadth and output of work rivaling that of Michelangelo, Gian Lorenzo Bernini (1598-1680) was one of the 17th century's most important artists. A devout Italian Catholic, he spent much of his life, and completed most of his work, in Rome, working under the patronage of various popes. His love of God and the spiritual intent in his work reminds me a little of JS Bach, though Bach was a lot less politically savvy. Like Bach, Bernini used his religious beliefs to reach for the sublime in his art, to take what came before and turn it into something more though the love of God.
It is probably this devotion to his faith, which included daily Mass, that led to perhaps his most revolutionary contribution to art: the synthesis of sculpture, painting, and architecture. He was concerned with the overall visual effect of a work- its theatricality- going so far as to place his sculptures at specific angles in a room to produce the desired effect. He also pioneered the use of natural light versus the standard painted light to intensify the spiritual impact of a work, most effectively employed in the Cornaro Chapel. St. Peter's Square, probably his most well-known (and seen, on television anyway) work, employs an ingenious use of the simplest classical columns, light, and open space to create a majestic place for the faithful to receive their pope.
But despite his broad artist endeavors, it is as a sculptor that Bernini will be most remembered, and which Rudolf Wittkower's classic study of the artist focuses. His sculptures rationalize the excess of the Mannerist sculptors, who reacted to the limits of the classical form by creating many extremities and multiple viewpoints. Bernini took on the single viewpoint of the classical and combined it with the energy of the Mannerists to form a focus of action, creating a narrative in marble. This can be best seen in his early works, such as Pluto & Proserpina, Apollo & Daphne, and David; and later Ecstasy of St Theresa.
Wittkower breaks Bernini's work into chunks based on theme: Early Works & Borghese Patronage, Religious Imagery, Portrait Busts, Chapels, Fountains & Monuments. He begins each section with a short analysis of the subject, no more than 3-5 pages. This leaves plenty of room for the pictures and allows the reader to linger over the work, which the reader will want to do. The book has dozens of black and white photos, showing the fine details of many works, details that highlight Bernini's genius. There are 30 more color plates after the main body of the book to allow a better view of some of the works where color is important, like The Ecstasy. Further, for the true students of the artist, the book finishes with a complete catalogue of Bernini's works, with a detailed history of each.
This book is a treasure and a must for any fan of Bernini or sculpture in general.
It is probably this devotion to his faith, which included daily Mass, that led to perhaps his most revolutionary contribution to art: the synthesis of sculpture, painting, and architecture. He was concerned with the overall visual effect of a work- its theatricality- going so far as to place his sculptures at specific angles in a room to produce the desired effect. He also pioneered the use of natural light versus the standard painted light to intensify the spiritual impact of a work, most effectively employed in the Cornaro Chapel. St. Peter's Square, probably his most well-known (and seen, on television anyway) work, employs an ingenious use of the simplest classical columns, light, and open space to create a majestic place for the faithful to receive their pope.
But despite his broad artist endeavors, it is as a sculptor that Bernini will be most remembered, and which Rudolf Wittkower's classic study of the artist focuses. His sculptures rationalize the excess of the Mannerist sculptors, who reacted to the limits of the classical form by creating many extremities and multiple viewpoints. Bernini took on the single viewpoint of the classical and combined it with the energy of the Mannerists to form a focus of action, creating a narrative in marble. This can be best seen in his early works, such as Pluto & Proserpina, Apollo & Daphne, and David; and later Ecstasy of St Theresa.
Wittkower breaks Bernini's work into chunks based on theme: Early Works & Borghese Patronage, Religious Imagery, Portrait Busts, Chapels, Fountains & Monuments. He begins each section with a short analysis of the subject, no more than 3-5 pages. This leaves plenty of room for the pictures and allows the reader to linger over the work, which the reader will want to do. The book has dozens of black and white photos, showing the fine details of many works, details that highlight Bernini's genius. There are 30 more color plates after the main body of the book to allow a better view of some of the works where color is important, like The Ecstasy. Further, for the true students of the artist, the book finishes with a complete catalogue of Bernini's works, with a detailed history of each.
This book is a treasure and a must for any fan of Bernini or sculpture in general.
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