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1. BAROQUE PERIOD: GIAN LORENZO BERNINI

2. GIAN LORENZO BERNINI born December 7, 1598, Naples,  Kingdom of Naples  [Italy]—died November 28, 1680, Rome, Papal States) was an Italian artist who was perhaps the greatest sculptor of the 17th century and an outstanding architect as well. 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.

3. Early years Bernini’s career began under his father,  Pietro Bernini , a Florentine sculptor of some talent who ultimately moved to  Rome . The young prodigy worked so diligently that he earned the praise of the painter  Annibale Carracci  and the patronage of  Pope Paul V  and soon established himself as a wholly independent sculptor. He was strongly influenced by his close study of the antique Greek and Roman marbles in the  Vatican , and he also had an  intimate  knowledge of High  Renaissance  painting of the early 16th century. His study of  Michelangelo  is revealed in the  St. Sebastian  ( c.  1617), carved for Maffeo Cardinal Barberini , who was later Pope  Urban VIII  and Bernini’s greatest patron.

4. GIAN LORENZO BERNINI • has 4 notable works, APOLLO AND DAPHNE, FOUNTAIN OF THE FOUR RIVERS, THE ECSTASY OF SAINT TERESA, and TRITON.

5. APOLLO AND DAPHNE In this sculpture, Bernini depicts the mythological drama that occurs between Apollo, god of music and poetry, and Daphne, a virginal nymph. The artist was likely inspired by the classical sculpture Apollo Belvedere (circa 2nd century CE) as well as the ancient Roman poet Ovid's rendition of the myth.

6. Fountain of the Four Rivers marble fountain by Gian Lorenzo Bernini, 1648-51; Piazza Navona , Rome.Bernini’s most spectacular public monuments date from the mid-1640s to the 1660s. The Fountain of the Four Rivers in Rome’s Piazza Navona (1648–51) supports an ancient Egyptian obelisk over a hollowed-out rock, surmounted by four marble figures symbolizing four major rivers of the world. This fountain is one of his most spectacular works.

7. THE ECSTASY OF ST. TERESA The greatest single example of Bernini’s mature art is the  Cornaro Chapel in Santa Maria della Vittoria , in Rome, which completes the evolution begun early in his career. The chapel, commissioned by Federigo Cardinal Cornaro , is in a shallow transept in the small church. Its focal point is his sculpture of The Ecstasy of St. Teresa (1645–52), a depiction of a mystical experience of the great Spanish Carmelite reformer Teresa of Ávila.At left and right, in spaces resembling opera boxes, numerous members of the Cornaro family are found in spirited postures of conversation, reading, or prayer

8. TRITON Bernini has represented the triton to illustrate the triumphant passage from Ovid's Metamorphoses book I, evoking godlike control over the waters and describing the draining away of the Universal Deluge. The passage that Urban set Bernini to illustrate, was well known to all literate Roman contemporaries:

9. DAVID marble sculpture by Gian Lorenzo Bernini, 1623–24. In the Borghese Gallery, Rome.Bernini’s early works attracted the attention of  Scipione Cardinal Borghese, a member of the reigning papal family. Under his patronage, Bernini carved his first important life-size sculptural groups. The series shows Bernini’s progression from the almost haphazard single view of Aeneas, Anchises, and Ascanius Fleeing Troy (1619) to strong frontality in Pluto and Proserpina (1621–22) and then to the hallucinatory vision of Apollo and Daphne (1622–24), which was intended to be viewed from one spot as if it were a relief. In his David (1623–24), Bernini depicts the figure casting a stone at an unseen adversary. Several portrait busts that Bernini executed during this period, including that of Robert Cardinal Bellarmine  (1623–24), show a new awareness of the relationship between head and body and display an ability to depict fleeting facial expressions with acute realism. These marble works show an unparalleled virtuosity in carving that obdurate material to achieve the delicate effects usually found only in bronze sculptures. 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.

10. St. Peter’s Basilica Gian Lorenzo Bernini's baldachin, interior of St. Peter's Basilica, Vatican City. With the pontificate of Urban VIII (1623–44), Bernini entered a period of enormous productivity and artistic development. Urban VIII urged his protégé to paint and to practice architecture. His first architectural work was the remodeled Church of Santa Bibiana in Rome. At the same time, Bernini was commissioned to build a symbolic structure over the tomb of St. Peter in St. Peter’s Basilica in Rome. The result is the famous immense gilt-bronze baldachin executed between 1624 and 1633. Bernini’s most original contribution to the final work is the upper framework of crowning volutes flanked by four angels that supports the orb and cross. The baldachin is perfectly proportioned to its setting, and one hardly realizes that it is as tall as a four-story building. Its lively outline moving upward to the triumphant crown, its dark colour heightened with burning gold, give it the character of a living organism. An unprecedented fusion of sculpture and architecture, the baldachin is the first truly Baroque monument.

11. CONCLUSION Bernini's legacy is seen in his ability to bring marble to life, using light, shadow, and motion to create immersive and emotionally charged works. His masterpieces, such as The Ecstasy of Saint Teresa and the Fountain of the Four Rivers, demonstrate his innovative approach, blending architecture and sculpture. Bernini's influence extended beyond his lifetime, shaping European art and architecture for centuries to come. His ability to evoke spirituality, passion, and realism in his works remains one of the great achievements of art history.