how did bernini make his sculptures

Posted on October 8th, 2020


Articles from Britannica Encyclopedias for elementary and high school students.

To get an understanding of quite how respected and loved Bernini's sculpture was in the early years after his career finished, one respected scholar even claimed him to be the Shakespeare of this artistic medium, quite a comparison! Sculpture was Bernini's most significant field, with significant contributions also coming in painting, architecture, drawing and theatre. Bernini's sculpture of David depicts the Biblical moment just before the young man threw the stone that slew the giant Goliath, an action that would make him king. Bernini's childhood was spent in Naples and he began sculpting from an early age working closely with his father, a successful Mannerist sculptor who carried out prestigious commissions in Naples and later Rome. Daphne is shown as a woman made of flesh and skin from behind, but only by walking around the sculpture can the viewer see that her hair and outstretched arm are growing leaves and roots.

The influence of religion on art during the 16th and 17th centuries was a reflection of society at that time and Bernini was an individual whose connection to Catholicism was supremely strong, meaning his inclusion of religious ideals and narratives was not something he simply did at the request of those commissioning his work - he was genuinely connected to the very same language. January 2013, BBC4 Documentary by Simon Schama about Bernini's art and life, 1 hour with excellent details of Bernini's sculptures, Smarthistory / His designs helped restore Rome to its former architectural glory through an extensive urban planning project taken on under his patronage by the powerful Roman Popes of the time. As this piece looked down toward hell, the other represented looking up toward God. This was highly innovative for the time and infused a breath of fresh air into the genre.

Bernini is remembered as being particularly creative, always seeking to challenge himself and come up with new styles and ideas within this medium.
This lifelong dedication to practice would lead to Bernini's development of his own style which would go on to greatly contribute to the Baroque movement. It was four specific sculptures that lifted Bernini's reputation to a new level, he will always be considered as foremost a sculptor. Bernini attempts to freeze a moment in time and the action is suspended in the midst of the drama. 4th June 2015, By Clive James /

His father encouraged his skill, recognizing early the prodigy he would become. In his hands, they became an art form to present informal portraits of the living, a practice that hadn't been widely used since Ancient Rome. The greatest single example of Gian Lorenzo Bernini’s mature art is the Cornaro Chapel in Santa Maria della Vittoria, in Rome. Content compiled and written by Rebecca Yallop, Edited and revised, with Summary and Accomplishments added by Kimberly Nichols. This is likely to change again in future centuries as it has done in previous ones. Bernini’s sensual awareness of the surface textures of skin and hair and his novel sense of shading broke with the tradition of Michelangelo and marked the emergence of a new period in the history of Western sculpture. Sculptures traditionally have been designed to be viewed from multiple angles but Bernini would often plan his work around their specific locations, where his work could only be viewed from a single angle. One example of Bernini's use of Bel Composto is the Sant'Andrea al Quirinale, where Bernini embedded sculptures into the church's architecture. These marble works show an unparalleled virtuosity in carving that obdurate material to achieve the delicate effects usually found only in bronze sculptures. The New York Review of Books / Bernini changed the way sculptures … Learn where to see his most famous works as well as the stories behind them below. Neptune and Triton (1623) Victoria and Albert Museum. His body is twisted and his facial expression is one of concentration and tension.

“David,” marble sculpture by Gian Lorenzo Bernini, 1623–24. Whilst not regarded in the same terms of Da Vinci or Michelangelo, he shared their exceptional ability to work across different disciplines and continue to keep a high standard throughout. For the influence of Baroque art on Modern art see chapter on Expressionism, By Catherine McCormack /

The chapel’s focal point is Bernini’s sculpture of The Ecstasy of St. Teresa (1645–52), a depiction of a mystical experience of the great Spanish Carmelite reformer Teresa of Ávila. Bernini’s career began under his father, Pietro Bernini, a Florentine sculptor of some talent who ultimately moved to Rome. "Giovanni Lorenzo Bernini Artist Overview and Analysis". 19th August 2014, By Simon Schama / In contrast to this, Bernini and other Baroque artists like Caravaggio and Rubens paved the way for a new way of depicting the human body with a new focus on sensuality. Bernini's mastery of movement and drama between the two beings was unparalleled in his time. Damned Soul is believed by some to be a self-portrait. Gian Lorenzo Bernini was an Italian artist, arguably the greatest sculptor of the 17th century, known for having developed the Baroque style of sculpture.

The Atlantic / Art historian Daniele Pinton points out that the work is characteristic of Bernini's sculpture in "depicting not a figure but an event."

Considering the beauty of his work and also the clear legacy left by them, in bringing in a new Baroque style of sculpture, it is surprising that his love from art historians and the public of the present day is not even stronger. His eyes are fixed on the target and his body is in a stance ready to swing his arm and throw the stone, like a spring about to be released.
Most importantly, Gian Lorenzo Bernini also had extraordinary technical skills, meaning his inventive mind could be effectively delivered in whichever form he was focusing on at that time. Dr Steven Zucker and Dr. Beth Harris talk about Bernini's David compared with Michelangelo's David in Galleria Borghere, Rome, Smarthistory / Chapter 21: Power and Glory I: Italy, Later Seventeenth and Eighteenth Centuries, By Nikos Stagnos / Early years. His extreme religious piety combined with a lifelong study of the sculptural form led to the introduction of a dynamic and exuberant style, focused on emotional expressionism, which perfectly embodied the Baroque period. Naturalism: Like Caravaggio, Bernini's triumph is his ability to make anything, from the gods and nymphs of Greek mythology, to Biblical heroes, seem real and of this world.

This sculpture depicts a story from Ovid's Metamorphoses in which Pluto falls in love with the goddess Proserpina and abducts her, taking her to the underworld where he reigns as king. His son Domenico described it as an "amazing contrast of tenderness and cruelty," seen in the details of Pluto's fingers pressing into Proserpina's thigh, creating an extraordinary illusion as the hard and cold marble seems soft and delicate in contrast with the violence.

Viewing one of his works becomes more than a visual experience; it is tactile as well, adding to the overall sense of amazing realism.

Artist Peter Rockwell said that, "any sculptor who looks at Bernini's Apollo and Daphne can only come away astonished." The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

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