1 10 10 https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Damned_Soul/Bernini_-_Damned_Soul.jpeg 1f55d6d5edf12b01f3722ac7e062a2cd 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 Damned Soul Description An account of the resource Damned Soul, a marble bust created by Bernini in 1619, depicts a male face with a twisted, painful expression [1]. The eyebrows are deeply arched, the mouth is open revealing a full set of teeth, and the head faces the left as if looking away at something. The bust has unruly hair in large pieces appearing ablaze. Constraining focus to the face, the piece only includes the neck and collarbone of the figue, leaving out the shoulders and chest as is often done in other busts. Commissioned in conjunction with Blessed Soul, the sculpture is one of Bernini’s early works - he began creating it at 20 years old. With lofty a goal of depicting the human soul in marble, Benini appeals to the human senses. Viewers can almost feel the heat from his flaming hair, hear his screams, and see the pain of the figure depicted. Bernini accomplishes this by capturing a moment of instantaneous motion though the uncomfortable rotation and grimace of the bust. This early work is a reflection of Bernini’s style at large - fleeting motion and emotion are captured eternally though form and figure. Bernini’s son, Domenico Bernini, wrote that the older Bernini set fire to his leg to understand and capture the agony that would result from the pain. Similarly, some scholars have hypothesized that Bernini inflicted pain on himself in the creation of Damned Soul. Even suspected to potentially be a self-portrait, Damned Soul retains facial features referencing that of Bernini [2]. Damned Soul delineates how while a specific medium served as a tool for Bernini’s art, it did not constrain his intended message. Bernini broke boundaries and conventions of creating busts of restful poses, and captured an emotion that would more typically be captured through painting. His willingness to try an capture the human soul at such a young age is a reflection of his boldness and conviction as an artist. Bernini looked beyond the medium, which ultimately allowed him to “unite visual art”. [1] “Damned Soul.” Damned Soul by Gian Lorenzo Bernini. Accessed October 18, 2021. http://www.gianlorenzobernini.org/damned-soul/. [2] Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. Creator An entity primarily responsible for making the resource Bernini Source A related resource from which the described resource is derived 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. Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. “Damned Soul.” Damned Soul by Gian Lorenzo Bernini. Accessed October 18, 2021. http://www.gianlorenzobernini.org/damned-soul/. Publisher An entity responsible for making the resource available Piazza di Spagna, Date A point or period of time associated with an event in the lifecycle of the resource 1619 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource Image of marble bust Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza di Spagna, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Blessed_Soul/Blessed_Soul_by_Bernini.jpeg 7d341c03255c6801219310da10750d4f 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 Blessed Soul Description An account of the resource The marble bust Blessed Soul, or Anima Beata, was created in 1619 along with Damned Soul when Bernini was only 20. The piece is thought to have been commissioned by Cardinal Pedro Foix de Montoya [1]. The bust depicts a woman looking up toward heaven with a slightly open mouth with an almost absent expression. She wears a crown of flowers atop her long, curly hair, and the bust, like Damned Soul, cuts off around her collarbone and neck. While Damned Soul captures an intensity of emotion and pain, the woman in Blessed Soul almost appears absent from life, fixated on looking toward heaven. The parted lips and slight head tilt add an aura of innocence to the woman's expression. While the emotion is far less eminent in Blessed Soul than in Damned Soul, Bernini still captures an instantaneous motion and emotion rather than capturing a figure at rest. With her head tilted, lips parted, and eyes looking upward, the woman looks as though she is about to speak or perhaps ascend to heaven. Though the purity in her face is clear, the absence of life and emotion almost leaves a negative connotation on going to heaven [2]. The Damned Soul clearly experienced agony, but appears more alive with such intensity of emotion. Bernini again used sculpture as a media to depict an expression that may have more typically been seen in oil portraiture prior to the Baroque period. Through next examining a portrait of Caravaggio, this connection can be understood. Once again looking beyond a medium’s history and standard uses, Bernini established himself as a visionary almost agnostic to the medium he was working with. His paintings, sculptures, and architecture are connected by their dynamic nature. [1] “Anima Beata (the Blessed Soul).” Sotheby's. Sotheby's. Accessed October 18, 2021. https://www.sothebys.com/en/buy/auction/2021/tomasso-the-more-a-thing-is-perfect/anima-beata-the-blessed-soul. [2] Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. Creator An entity primarily responsible for making the resource Bernini Source A related resource from which the described resource is derived 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. Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. “Anima Beata (the Blessed Soul).” Sotheby's. Sotheby's. Accessed October 18, 2021. https://www.sothebys.com/en/buy/auction/2021/tomasso-the-more-a-thing-is-perfect/anima-beata-the-blessed-soul. Publisher An entity responsible for making the resource available Piazza di Spagna Date A point or period of time associated with an event in the lifecycle of the resource 1619 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource Image of marble bust Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza di Spagna, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/David/440px-Galleria_Borghese_42.jpg dbbcd714eaba077919e9fe8f079ae554 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 David Subject The topic of the resource Statue of David during fight with Goliath Description An account of the resource Bernini’s sculpture, David, was commissioned by Cardinal Scipione Borghese for the Borghese Gallery. The sculpture was done in marble over the course of seven months spanning 1623 to 1624 [1]. In the life size sculpture, David is rotating his body in preparation to launch the rock at Goliath. Biting his lower lip and furrowing his eyebrows, David’s face is saturated with tension. He carries a pouch for the rock, and wears a cloth draped around his waist. David’s muscles appear anatomically accurate with muscles flexed emphasizing the tension. Caught in a moment of tension, Bernini’s David evokes feelings of uncertainty and power. Unlike prior sculptures which capture a moment of victory, Bernini captures the dynamic moment before victory [2]. The viewer almost roots for David to follow through with his throw and defeat Goliath. Given the composition of the piece, the viewer takes the position of a bystander of the fight between David and Goliath. Rotated around the central point of his abdomen and looking over his pulled forward shoulder, the viewer feels adjacent to the fight, trapped in the events to unfold. Bernini’s decision to capture a moment of tension and motion in his sculpture demonstrates his ability to break norms surrounding a medium. While sculptures were traditionally used as a medium to express pose and stillness, Bernini embraces motion [3]. His choice to make the viewer an active bystander watching a scene unfold contrasts the typical role of the viewer as a passive observer and admirer - it instead mirrors the motion captured in paintings during the Baroque and Renaissance periods. Through an analysis of Rubens painting of David and Michelangelo’s sculpture, an understanding of Bernini’s command of medium can be fleshed out. With David, Bernini uses sculpture as a mechanism to depict a moment typically constrained to paintings. This demonstrates his ability to think outside the constraints set for media and unit visual art under the theme of capturing moments. [1] “David .” Galerie Borghèse. Galleria Borghese, July 28, 2021. https://borghese.gallery/collection/sculpture/david.html. [2] Harris, Beth, and Steven Zucker. “Bernini's David.” Lumen. Accessed December 2, 2021. https://courses.lumenlearning.com/zeliart102/chapter/berninis-david/. [3] Warwick, Genevieve. “Bernini (1598–1680): Sculpting Sainthood.” Studies: An Irish Quarterly Review 104, no. 416 (2015): 444–55. http://www.jstor.org/stable/24640794. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived “David .” Galerie Borghèse. Galleria Borghese, July 28, 2021. https://borghese.gallery/collection/sculpture/david.html. Harris, Beth, and Steven Zucker. “Bernini's David.” Lumen. Accessed December 2, 2021. https://courses.lumenlearning.com/zeliart102/chapter/berninis-david/. Publisher An entity responsible for making the resource available Borghese Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1623-1624 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 170 cm Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/David_Slaying_Goliath/F197205P.jpg 3d7e245d34ca2cb4bd0d6052b9c01e56 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 David Slaying Goliath Description An account of the resource Peter Paul Rubens’ painting, David Slaying Goliath, was painted in oil on a 122.9 x 99.1cm canvas in 1616 [1]. In the painting, Rubens captures the moment where David has over powered Goliath, pushing him to the ground with his foot. David reaches his arms back holding a sword in preparation to strike at David. David’s body is caught in a comment of motion, with his muscles flexed to demonstrate tension. His eyebrows are furrowed and he appears concentrated on the coming strike. Rubens has placed David and Goliath boldly in the foreground, and faded into the background appears a charging army. Rubens' painting shares several commonalities with Bernini’s David. In both depictions, David’s body and expression is contorted in a moment of tension and uncertainty. While in Bernini’s sculpture, the viewer is uncertain of whether David will defeat Goliath, in Rubens' depiction, it is clear that David has already overpowered Goliath and awaits making his final strike. The viewer takes a similar role in both depictions as an active bystander in a scene of action. Both images show David with his abdomen rotated toward the viewer but his focus turned away, setting the viewer as a part of the scene. Rubens’ painting featuring bold, coherent colors of red, brown and blue with theatrical lighting and diagonal motion shows themes common to Italian Baroque oil painters like Caravaggio and Artemisia Gentileschi [2]. His use of posture and movement to show tension and place viewers in the scene shows characteristic traits to the Baroque movement. Rubens' painting was completed about a decade before Bernini's David. Seeing how Bernini was able to capture these Baroque painting characteristics demonstrated by Rubens in his sculpture depiction of David, viewers can understand how Bernini blurred lines between media. His use of these characteristics was novel, as will be made clear through the next analysis of Michelangelo’s David. [1] “David Slaying Goliath.” Norton Simon Museum, January 1, 1970. https://www.nortonsimon.org/art/detail/F.1972.05.P/. [2] Freeberg, David. Peter Paul Rubens: Oil Paintings and Oil Sketches. Columbia University, 1995. Creator An entity primarily responsible for making the resource Peter Paul Rubens Source A related resource from which the described resource is derived “David Slaying Goliath.” Norton Simon Museum, January 1, 1970. https://www.nortonsimon.org/art/detail/F.1972.05.P/. Freeberg, David. Peter Paul Rubens: Oil Paintings and Oil Sketches. Columbia University, 1995. Publisher An entity responsible for making the resource available Norton Simon Museum Date A point or period of time associated with an event in the lifecycle of the resource 1616 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 122.9 x 99.1 cm Type The nature or genre of the resource 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 Norton Simon Museum, Pasadena, USA https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/David/Michelangelo_s_David_-_right_view_2.jpg 14abde806d197b51c1a47c50e009f529 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 David Creator An entity primarily responsible for making the resource Michaelangelo Source A related resource from which the described resource is derived “David.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed December 2, 2021. https://www.britannica.com/topic/David-sculpture. Keizer, Joost. “Giuliano Salviati, Michelangelo and the 'David'.” The Burlington Magazine 150, no. 1267 (October 2008): 664–68. https://www-jstor-org.proxy.lib.duke.edu/stable/40479899?pq-origsite=summon&seq=1#metadata_info_tab_contents. Publisher An entity responsible for making the resource available Michelangelo’s David was carved from 1501 to 1504. The statue stands at about 5.5m tall. The marble block used by Michelangelo to carve David had initially been partially used by artists Agostino di Duccio and Antonio Rossellino in the 15th century. Originally commissioned for the cathedral of Florence, the sculpture was ultimately put on the Palazzo Vecchio by the government of Florence. It currently sits in the Accademia [1]. David is thought to be depicted in a moment before the battle. He appears focused with a warning gaze to the right. He is nude and carries his sling over his shoulder in preparation to fight Goliath. David stands upright with a tilt in contrapposto. This pose, iconic to the Renaissance era, signals to the viewer that while David is standing still, he awaits uncertainty and will soon move. The uncertainty and potential for motion is novel in comparison to other major sculptures of David that came from artists prior to Michelangelo, such as Donatello - in Donatello’s depiction, David stands victorious. Michelangelo’s David shows themes iconic to the renaissance, with his realism of proportions and anatomy, depiction of drapery and history, and contrapposto [2]. Though Michelangelo does depart from the stillness and certainty in previous sculptures, Bernini captures the antithesis of these qualities. Both Bernini and Michelangelo embrace tension and uncertainty, but Bernini couples this with capturing motion. With the large scale of Michelangelo’s David and placement atop a high pedestal, paired with the stillness and upright nature of the composition, the viewer is not a part of David's scene. Instead, the viewer looks up his figure, almost in admiration. Contrastingly, Bernini’s life size sculpture places the user into the scene and motion unfolding, as does Rubens’ painting. Having been completed a century before Bernini's David, Michelangelo's David shows a prior ideal for the medium of sculpture. This comparison shows how Bernini stands out in uniting visual art media by capturing characteristics of paintings in his sculpture. [1] “David.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed December 2, 2021. https://www.britannica.com/topic/David-sculpture. [2] Keizer, Joost. “Giuliano Salviati, Michelangelo and the 'David'.” The Burlington Magazine 150, no. 1267 (October 2008): 664–68. https://www-jstor-org.proxy.lib.duke.edu/stable/40479899?pq-origsite=summon&seq=1#metadata_info_tab_contents. Date A point or period of time associated with an event in the lifecycle of the resource 1501-1504 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 5.5 m Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Accademia, Florence, Italy https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Boy_with_a_Basket_of_Fruit/download.jpg ec55d337c7665733c6d0687254010b50 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 Boy with a Basket of Fruit Description An account of the resource Caravaggios painting, Boy with a Basket of Fruit, is dated to early in his career from roughly 1593 to 1595. The painting is done in oil on a 70 by 67 cm canvas, and is a part of the Galleria Borghese in Rome [1]. Caravaggio created the painting early in his career during his still life exploration, and was originally for the Cavaliere d’Arpino, but was later taken by Scipione Borghese. During this time, Caravaggio arrived in Rome and was connected to Cardinal Francesco Maria del Monte, his first significant Patron. The painting features a boy, thought to be modeled by the painter Mario Minniti, at the age of 16 [2]. He faces his body toward the right, but looks out toward the viewer. With his head tilted up and his mouth slightly agape, the boy shows a look of peace. The facial expression is reminiscient of Bernini’s Blessed Soul bust with a satisfied, relaxed look and slightly open mouth. In Boy with a Basket of Fruit, the boy tilts over with his tunic falling off the shoulders. His tunic carries folds and fluidity, emulating the classically Baroque fluidity. The basket he holds is overfilled with a variety of fruits that spill out of the sides. Accompanying these physical characteristics of the painting with his loose expression, Caravaggio has created motion and fluidity in a seemingly “still life.” Accompanying this motion with dramatic lighting and bold colors, Caravaggio has created a painting carrying themes characteristic of the Italian Baroque painting movement. This portrait serves as a benchmark for themes in Baroque oil portraiture, and comparing it to Bernini's busts allows us to understand how Bernini encapsulated movements from Baroque portraits to sculpture. As is demonstrated by Damned Soul and Blessed Soul, Bernini was able to translate these themes to the seemingly frigid medium of sculpture. Damned Soul is depicted amidst agony, and Blessed Soul seems lifted to ascend to heaven - these dynamics, similar to the dynamics Caravaggio presents in painting, are used by Bernini to spearhead the Baroque sculpture movement. [1] “Boy with a Basket of Fruit by Caravaggio.” Web Gallery of Art. Web Gallery of Art. Accessed December 2, 2021. https://www.wga.hu/html_m/c/caravagg/01/03boy_fr.html. [2] “Boy with a Basket of Fruit by Caravaggio.” Galerie Borghèse, August 2, 2019. https://borghese.gallery/collection/paintings/boy-with-a-basket-of-fruit.html. Creator An entity primarily responsible for making the resource Caravaggio Source A related resource from which the described resource is derived “Boy with a Basket of Fruit by Caravaggio.” Galerie Borghèse, August 2, 2019. https://borghese.gallery/collection/paintings/boy-with-a-basket-of-fruit.html. “Boy with a Basket of Fruit by Caravaggio.” Web Gallery of Art. Web Gallery of Art. Accessed December 2, 2021. https://www.wga.hu/html_m/c/caravagg/01/03boy_fr.html. Publisher An entity responsible for making the resource available Galleria Borghese Date A point or period of time associated with an event in the lifecycle of the resource 1593 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 70 x 67 cm Type The nature or genre of the resource 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 Galleria Borghese, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Bust_of_a_Nobleman_in_Armour/637509103040876898_T637509103041410503.jpg 2e94b29944c54ec245294510ae3d5bd2 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 Bust of a Nobleman in Armour Description An account of the resource Sculptor Giovacchino Fortini carved Bust of a Nobleman in Armour in 1700. The bust is done in white marble, and currently belongs to a private collection [1]. Fortini, a Florentine sculptor, was renowned for his busts that marked a design shift from the late Baroque period in Italy. His characteristic style of clean cut shadows and bright marble create an aura of sophistication to his work. In Bust of a Nobleman in Armour, the model wears elegant looking armor, complete with a medusa emblem and cloth draping diagonally. He wears a wig with symmetric curls resting around his head and shoulders. The nobleman, who appears to be an adult, carries a restful expression and looks out to the audience denoting his high stature and experience in a humble manner. His posture is completely upright. Fortini’s bust shows a more typical use of the medium during the renaissance and the Baroque periods [2]. The bust is used to show distinguished figures at rest as a preservation of their power and legacy in society. Comparing this bust to Bernini’s Damned Soul and Blessed Soul conveys how Bernini’s unconventional use of sculpture at the time show his ability to stay medium-agnostic while establishing his artistic lens. Bernini uses busts outside of their more conventional purpose as shown by Fortini. Instead of depicting a person of high stature at rest, he captures motion, tension, and uncertainty in Blessed Soul and Damned Soul. Departing from the typical upright composition, Bernini embraces rotation. Even in Bernini’s bust comissions, such as the bust of Cardinal Scipione Borghnese, he shows motion through slight tilts and rotations, folds in fabric, and expression as a vehicle for showing power, intelligence and legacy. He takes these dynamic traits that are seen in portraits like Caravaggio’s Boy with a Basket of Fruit and boldly brings them to busts. [1] “Bust of a Nobleman in Armour Giovacchino Fortini (1670 ...” The British Antique Dealers' Association. BADA. Accessed December 2, 2021. https://www.bada.org/object/bust-nobleman-armour-giovacchino-fortini-1670-1736. [2] Warwick, Genevieve. “Bernini (1598–1680): Sculpting Sainthood.” Studies: An Irish Quarterly Review 104, no. 416 (2015): 444–55. http://www.jstor.org/stable/24640794. Creator An entity primarily responsible for making the resource Giovacchino Fortini Publisher An entity responsible for making the resource available BADA Date A point or period of time associated with an event in the lifecycle of the resource 1700 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 81 cm Type The nature or genre of the resource Bust Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Private Collection, New York City, USA Source A related resource from which the described resource is derived “Bust of a Nobleman in Armour Giovacchino Fortini (1670 ...” The British Antique Dealers' Association. BADA. Accessed December 2, 2021. https://www.bada.org/object/bust-nobleman-armour-giovacchino-fortini-1670-1736. https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Self-Portrait_as_a_Young_Man/selfpor1.jpg 60921efcb3e1a705423f8fe7be339714 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 Self-Portrait as a Young Man Description An account of the resource Bernini’s Self-Portrait as a Young Man, painted in 1623 at the young age of 25, is done in oil paint on a 38 cm by 30 cm canvas. The painting is in the Galleria Borghese in Rome as a part of the collection of Scipione Borghese [1]. The portrait, featuring Bernini’s image from the shoulders up, is set over a green and brown background. Berninis chest faces the left, and he looks forward directly at the viewer. With arched eyebrows and piercing eyes looking straight forward, Bernini looks alarmed in the image. Though much of Bernini’s work is in uncolored sculpture, he shows a mastery of his understanding of color through his painting. By extending hints of yellow and green from the background to the highlights on his face, he develops a coherent looking image. Bernini further shows his skill as a painter in his anatomical accuracy of the color zones of the face: undertones of yellow in the forehead, sanguine red in the cheeks and nose, and blue-green around the chin. Bernini shows sculptural techniques in his portrait. He has carved out features and placed in details as he would in a marble sculpture. Looking at the right eye region as an example, Bernini carved out the eye socket as delineated by the angles running down the nose bridge and brow bone. Within this structure, the eye is detailed. Bernini would have used a similar method carving marble - first blocking out pieces, and then carving out details within [2]. Bernini has a strong understanding of planes as demonstrated in his brush strokes. He avoids blending, as is visible with the highlights from brush strokes placed across the forehead. Additionally, the brush strokes along the collar create texture for a seemingly simple, yet highly dimensional component. In addition to showing “unity of arts” in his ability to master several media, Bernini’s use of sculptural elements in his self-portrait show his ability to meld ideas across media. [1] “Self-Portrait as a Young Man.” Galleria Borghese. Accessed December 2, 2021. https://galleriaborghese.beniculturali.it/en/opere/self-portrait-as-a-young-man/. [2] Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived “Self-Portrait as a Young Man.” Galleria Borghese. Accessed December 2, 2021. https://galleriaborghese.beniculturali.it/en/opere/self-portrait-as-a-young-man/. Publisher An entity responsible for making the resource available Galleria Borghese Date A point or period of time associated with an event in the lifecycle of the resource 1623 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 38 x 30 cm Type The nature or genre of the resource 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 Galleria Borghese, Rome, Italy 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 https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Comparison_of_David_s_pose/Baroque_Art_Final_Presentations.jpg 7539337f4576361f21dae2bec7a4ddea 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 Comparison of David's pose Description An account of the resource See collection entries for Bernini's David, Michelangelo's David, and Rubens' David and Goliath for information on each image. Creator An entity primarily responsible for making the resource Bernini, Rubens, Michelangelo Contributor An entity responsible for making contributions to the resource Meena Gudapati