by Andrea Bacchi, Catherine Hess, Andrea Bachi, Julian Brooks, Anne-Lise Desmas, David Franklin, Jennifer Montagu
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Product Description
Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet--surprisingly--there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture--on view from August 5 through October 26, 2008, at the J. Paul Getty Museum and from November 28, 2008, through March 8, 2009, at the National Gallery of Canada, Ottawa--showcases portrait sculptures from all phases of the artist's long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works.
Bernini's portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini's ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi.
Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.
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Average Customer Review:
4 of 4 people found the following review helpful:
The art of sculpting the human., 2008-12-01
The catalogue for an exhibition held at the Getty Museum in Los Angeles, which will later go to Ottawa in Canada, this is a high-quality publication which dwells on a seldom studied aspect of the baroque, sculpted portraits of the XVIIth century, by Bernini, Mochi, Algardi or Finelli. Of those, Bernini obviously stands out as a major master, but Algardi and Finelli are not far behind (an impressive Portrait of Antonio Cerri, from 1640, by Algardi, is a complete discovery). Full of wonderful illustrations and interesting essays that place the portraits in their context and distinguish between independent portraits that were meant to ornate the homes of their owners, and portraits which were part of more ambitious projects (monuments or family chapels), the book also dwells on the numerous drawings by Bernini (only one is an actual study for a sculpture, the others being intimate renderings of unknown characters or friends of the artist), as well as on some paintings by Fetti, Sacchi, Piero de Cortone or Bernini himself (portrait of Pope Urbino VIII)and their relationship to the sculpted portrait.
Highly recommended.
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