Gian Lorenzo Bernini
(1598–1680) was an Italian sculptor, architect,
painter, and set designer, considered the leading figure of
Baroque art. His works, rich in dynamism, theatricality, and
pathos, left an indelible mark on Western art.
Childhood and Training
(1598–1610)
He was born on December 7,
1598, in Naples, to Pietro Bernini, a Tuscan Mannerist sculptor,
and Angelica Galante. In 1606, he moved to Rome with his family,
where his father worked for the papal court.
From a very young age, he showed an extraordinary talent for
drawing and sculpture. His father trained him in artistic
techniques, but Gian Lorenzo soon surpassed his master,
developing his own energetic and innovative style.
Early Success and
Patrons (1610–1620)
At just 12 years old, he
sculpted busts and reliefs that caught the attention of powerful
patrons, particularly Cardinal Scipione Borghese, nephew of Pope
Paul V. For him, Bernini created some of his first famous works:
-
Aeneas, Anchises, and
Ascanius (1618–19)
-
The Rape of Proserpina
(1621–22)
-
Apollo and Daphne
(1622–25)
These sculptures, housed in
the Borghese Gallery in Rome, already display his genius for
movement, drama, and bodily expressiveness.
Baroque Zenith and
Papal Commissions (1620–1650)
During the pontificate of
Urban VIII (Maffeo Barberini), Bernini became the official
artist of the papacy. He received major commissions, including:
In this period, Bernini
revolutionized sculpture and architecture, integrating them into
a theatrical and spectacular language in service of the
post-Tridentine Catholic Church.
Architecture and Urban
Planning
Bernini was not only a
sculptor but also an architect and urban planner. His most
famous project is:
He also worked on:
Ecstasy and Drama: The
Mature Works
One of his most renowned
works is The Ecstasy of
Saint Teresa of Ávila (1647–52), created for the Cornaro
Chapel in the Church of Santa Maria della Vittoria.
The piece unites sculpture, architecture, painting, and light in
a powerful mystical-erotic scene, a perfect expression of
Baroque theatricality.
Temporary Decline and
Comeback
During the pontificate of
Innocent X Pamphilj, Bernini was temporarily sidelined
(Borromini was favored), but with Alexander VII Chigi he
returned to the forefront of the Roman art scene.
In his later years, he produced other major works such as:
Death and Legacy
Gian Lorenzo Bernini died
in Rome on November 28, 1680, at the age of 81. He was buried in
the Basilica of Santa Maria Maggiore.
Style and Innovations
-
Dynamic sculpture:
figures in motion, captured at their most intense moment
(like in a freeze-frame)
-
Theatrical
expression: strong emotion in faces and gestures
-
Synthesis of the
arts: fusion of sculpture, architecture, painting,
light, and space
-
Light and shadow
as dramatic elements
-
Emotional
involvement of the viewer, placed at the center of
the scene
Major Works
|
Work |
Year |
Location |
|
Apollo
and Daphne |
1622–25 |
Borghese Gallery, Rome |
|
Ecstasy of Saint Teresa |
1647–52 |
Santa Maria della Vittoria, Rome |
|
St.
Peter’s Baldachin |
1624–33 |
St. Peter’s Basilica, Vatican |
|
St.
Peter’s Square Colonnade |
1656–67 |
St. Peter’s Square, Vatican |
|
Fountain of the Four Rivers |
1648–51 |
Piazza Navona, Rome |
|
Tomb
of Urban VIII |
1628–47 |
St. Peter’s Basilica |
|
Sant’Andrea al Quirinale |
1658–70 |
Rome |
Influence and Legacy
Bernini deeply influenced
European art for over a century. His theatrical, narrative, and
dynamic style became the model of Baroque across Europe, from
Paris to Madrid, from Vienna to Prague.
He was also a forerunner of modern visual theater and immersive
art. His influence can be seen in the works of Canova, Rodin,
and even in contemporary film set design.
Signature Quote
“He who does not know
how to carve movement, does not know how to carve.”
— Gian Lorenzo Bernini