https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Cornaro_Chapel/Full-Cornaro-Chapel.jpg 7476afab7f10e2d8f9dc513e54a36bb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gian Lorenzo Bernini - "Unity of the Visual Arts" Contributor An entity responsible for making contributions to the resource Meena Gudapati Description An account of the resource As a renowned sculptor, architect, and painter, Bernini fused all three media in several of his works. Art historian Irving Lavin published the book "Bernini and the Unity of Visual Arts" exploring in depth Bernini's synthesis of the media. Through my project, I will explore works of Bernini's to validate Lavin's widely known thesis. In addition to looking at works that more explicitly combine sculpture, architecture, and painting, I will look at individual works that show how Bernini looked beyond any norms and constraints of a medium. For example, through an analysis of his busts, we see how Bernini captured motion in a way that was previously restricted to paintings. Through this analysis of Bernini's more implicit methods of fusing media, I will endorse the term of Bernini's "Unity of Visual Arts". Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cornaro Chapel Description An account of the resource The construction of the Cornaro Chapel took place from 1647 to 1652 at the Santa Maria della Vittoria in Rome. The project was comissioned by Frederigo Cornaro, the Cardinal of Venice to honor both himself, family members, and a saint. The chapel was constructed atop an already existing chapel [1]. At the center of the chapel is Bernini’s marble sculpture, The Ecstasy of Santa Teresa. In the sculpture, St. Teresa, draped intricately in carved fabric, lies defeated. Above her stands a cupid-esque figure holding an arrow aimed for St. Teresa’s heart. The cupid-like figure appears overjoyed in her expression, and also wears well carved robes. The statue evokes lightness and flow with the duality of emotion and intricate carving. Surriounding the statue are several columns almost sheltering the statue and emphasizing the sanctity. Adorning the top of this central element are painted figures made of stucco, appearing to almost float above the pedestal. On the walls adjacent, Bernini placed statues showing groups of individuals appearing like spectators. The figures are thought to be saints and Cornaro family members who bridge viewers with the scene of ecstasy. The fusion of architecture, sculpture, and painting presents an abundance of motion, flow, and tension and incorporates viewers both physically and emotionally into the scene. Irving Lavin presents a detailed analysis of this fusion in his text, “Bernini and the Unity of the Visual Arts.” Lavin shows how Bernini mastered and fused the three media, and was a visionary in doing so [2]. While Lavin is correct that Bernini did literally unite the media in pieces like the Cornaro Chapel [3], he also more figuratively created unity in his individual medium paintings. By looking closely at sculptures and paintings of Bernini’s, his ability to translate ideas swiftly through media becomes clear. [1] Warwick, Genevieve. “Bernini (1598–1680): Sculpting Sainthood.” Studies: An Irish Quarterly Review 104, no. 416 (2015): 444–55. http://www.jstor.org/stable/24640794. [2] Lavin, Irving. Bernini and the Unity of the Visual Arts. New York: Oxford Univ. Press, 1980. [3] Montagu, Jennifer. “Bernini and the Unity of the Visual Arts.” The Burlington Magazine 124, no. 949 (1982): 240–43. http://www.jstor.org/stable/880696. Source A related resource from which the described resource is derived Lavin, Irving. Bernini and the Unity of the Visual Arts. New York: Oxford Univ. Press, 1980. Montagu, Jennifer. “Bernini and the Unity of the Visual Arts.” The Burlington Magazine 124, no. 949 (1982): 240–43. http://www.jstor.org/stable/880696. Publisher An entity responsible for making the resource available SCALA Date A point or period of time associated with an event in the lifecycle of the resource 1647-1652 Contributor An entity responsible for making contributions to the resource Meena Gudapati Type The nature or genre of the resource Architecture, sculpture, painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant S. Maria della Vittoria, Rome, Italy