1,729,496 research outputs found
Louvre, Bernini Project (unbuilt)
No full textThe Louvre project was commissioned in 1664 at the height of Bernini’s fame by Jean-Baptiste Colbert, in his capacity as Louis XIV’s Surintendant des Bâtiments. It was intended to provide a structure to close off the fourth (east) side of the famous Cour Carrée, its outer façade to be the monumental entrance to the palace complex. Bernini produced a series of designs, the final two developed from his Roman palazzi. Although work was begun on foundations while Bernini was in Paris from June to October 1665, the resolutely Italianate quality of his final design, its lack of internal convenience and the intrigues of the French court architects and their supporters meant that it was quietly abandoned when Louis XIV turned his attention away from Paris to his château at Versailles.elevations (drawing), First Schem
Ovid seen by Bernini: The rape of Proserpine and Apollo and Daphne
No full textreservedNel mio elaborato ho voluto approfondire i miti ovidiani del ratto di Proserpina e di Apollo e Dafne osservati, analizzati e ricreati dal più importante artista barocco: Gian Lorenzo Bernini.
L’ autore ha voluto riprodurre fedelmente su marmo le storie delle divinità leggendo con molta attenzione le Metamorfosi di Ovidio e cogliendo ogni singolo particolare così da rendere i gruppi scultorei vivi, come se respirassero.
Bernini ha potuto realizzare questi capolavori grazie alla sua conoscenza sia della mitologia greco e romana che della statuaria classica.
Inizialmente presento la biografia di Bernini, concentrandomi sulla sua formazione e sull’importanza che questa ha avuto per lo sviluppo dello stile che sarà definito “Barocco”, sulla committenza, in particolare, su Scipione Borghese e sul modo in cui l’autore trasse ispirazione dal mito.
Successivamente analizzo il periodo dell’Età augustea, studiando la vita e l’istruzione dell’autore latino Ovidio e la passione per la poesia che lo condusse a scrivere: le Metamorfosi.
Infine espongo le leggende ovidiane del ratto di Proserpina e di Apollo e Dafne, ricostruendo il filo narrativo dei miti e osservando la passione che Bernini provava nei confronti di queste narrazioni. Passione non indifferente in quanto riprese alla lettera ogni singolo dettaglio descritto da Ovidio per trasporlo su marmo.In my thesis I wanted to delve deeper into the Ovidian myths of the rape of Proserpine and Apollo and Daphne observed, analyzed and recreated by the most important baroque artist: Gian Lorenzo Bernini.
The author wanted to faithfully reproduce the stories of the divinities on marble by reading Ovid's Metamorphoses very carefully and capturing every single detail as to make the sculptural groups alive, as if they were breathing.
Bernini was able to create these works of art thanks to his knowledge of both Greek and Roman mythology and classical statuary.
Initially, I present Bernini's biography, focusing on his training and the importance this had for the development of the style that will be defined as "Baroque", on the commission, in particular, on Scipione Borghese and on the way in which the author drew inspiration from the myth.
After that, I analyze the period of the augustan Age, studying the life and education of the Latin author Ovid and the passion for poetry that led him to write: Metamorphoses.
Finally, I expose the Ovidian legends of the rape of Proserpine and of Apollo and Daphne, reconstructing the narrative thread of the myths and observing the passion that Bernini felt towards these tales. Not an indifferent passion as he took every single detail described by Ovid to the letter and transposed it onto marble
Una nazione frocia dentro e oltre la nazione. Prefazione di Lorenzo Bernini
No full textLa prefazione restituisce il senso del manifesto di Queer Nation collocandolo nel suo tempo storico, e inoltre si interroga sul senso della traduzione del testo nel present
Out of the Choir: Bodies Inclined on the Playboy
No full textHow did you experience the outbreak of the pandemic? How did you spend the lockdown? In this article, with a certain modesty, Bernini recounts that, net of concern for his elderly parents, he fared well: tanned and in good physical shape, isolated but not alone in that condition of serial isolation that, according to the media representation of the pandemic, seems to have uniformly involved all of Italy. But this is only an ironic autobiographical debut, from which the narrative proceeds-through comparisons with Foucault, Cavarero, Agamben, Preciado and others-to an analysis that makes the Covid-19 a reagent that allows us to better observe the biopolitical and bioeconomic devices of vulneration that in the present nurture and exploit social inequalities and hierarchies. Among the many possible lenses, the author privileges that of gender and sexuality, which allows the philosophical-political problem of subjectivity to come into sharp focus
Raimondi Chapel
No full textThe altarpiece, a high relief depicting "St. Francis in Ecstasy": detail of St. Francis's left hand; Bernini had earlier made an organic unity of the interior architecture of the Raimondi Chapel (1640-1647) at S Pietro in Montorio. Guido Ubaldo Abbatini assisted Bernini with the painting of the vault of the Raimondi Chapel (1642-1644). [Grove] "The Tomb of Monsignor Francesco is designed by Bernini but executed by members of his studio. The tombs face each other across the chapel and "in both cases the deceased is shown alive and praying in the niche above but also as a corpse in the sarcophagus, a device common in northern Europe in the late Middle Ages, but extremely rare in Italy, particularly in the 17C" Source: Blunt, Anthony; Guide to baroque Rome, London ; New York : Granada, 1982 (0246117621) (accessed 12/2/2007
Floor of the Chigi Chapel
No full textDetail of the floor by Bernini (the center depicts a kneeling skeleton or "figure of death"
Tomb of Giovanni Vigevano
No full textThe of bust of Giovanni Vigevano, by Bernini, close view; bust ca. 1617; wall tomb 164
Saint Peter's Square
No full textgeneral view, North fountain, added by Bernini in 1675 to provide symmetry with the preexisting south fountain, 201
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