Berninis Visit to France - Outline - Annotated Bibliography Example

Bernini’s Visit to France - Outline Born to Pietro Bernini in 1598, Gianlorenzo Bernini was an Italian artist destined to be a sculptor. Affected by the Hellenistic era, he soon gained prominence in that style of sculpturing. By 1623, he was famous enough to sculpt Pope Paul IV for his bust. Some of his most prominent sculptures include Apollo and Daphne, David, and the Rape of Proserpina. The Grove Dictionary of Art may be quoted as saying “He is considered the most outstanding sculptor of the 17th century; and is a formative influence on the development of the Italian Baroque Style”1. A painter and architect in his own right, Bernini’s greatest architectural achievement – according to the Encyclopedia Britannica – was “Bernini’s greatest architectural achievement is the colonnade enclosing the piazza before St. Peter’s Basilica”2. His self portraits as a young and mature man number among some of the most famous paintings in the world. His fame prompted King Louis XIV of France to invite him to Paris, where he stayed from April 1655 to November of that year. He soon lost favor with the French court, however, when he praised the art and architecture of Italy over that of France. His output from his stay in Paris was thus negligible. There is of course, ample scope for scholars to impact and relevance of Bernini’s visit to France. Would a prolonged stay by Bernini have affected the movement of art in France? Did he usually flatter his hosts? Son of Pietro Bernini and Angelica Galante, Gianlorenzo Bernini was an exceptional sculptor, painter and architect. Born in Naples in 1598, his skill as a painter was recognized by Pope Paul V when he was only seven. His father lent him the teachings to turn him into a fine sculptor, and very soon the young boy earned himself the patronage of Pope Paul V. Thus, he began sculpting under the influence of the Vatican. His sculptures depicted his strong influence from the Greek and Roman sculptures in the Vatican; as a result, for a large part of his life, Bernini’s sculptures were influenced by the Hellenistic era. His earlier works attracted the patronage of the great Borghese family. By the time he was but 23, he had gained prominence via his famous marble statues depicting David, Apollo and Daphne and the Rape of Proserpina. Living under the well deserved spotlight his talented works of art brought on him, Bernini soon began growing affluent under the patronage of the Barbarini, Borghese and other highly prominent families of that time. As he had started his career under the patronage of many peers of the Vatican, Bernini became a deeply religious man. As a result, his main sculpting passion was Baroque art. He used light in order to intensify the effect of his marble sculptures; which caused the perception of intense religious settings. Much of his work has hidden religious meanings – the most famous of these include the Ecstasy of Saint Theresa. Set in a mystical setting at the centre of Santa Maria della Vittoria, in Rome; it shows the religious ecstasy a nun feels when giving herself completely up to her divine lord. Natural light is allowed to illuminate the Saint Theresa in the throes of passion on the point of the angel’s sword – extremely moving, this sculpture depicts the talent Bernini had in capturing the essence of a particular narrative, while stagnating a dramatic realism that is almost shocking. He could very powerfully carve the marble in order to show fleeting glimpses of exact facial expressions; a master’s talent, which caused audiences to be left wondering upon the statues and their maker. (Peterson, pp 183) Unlike Classical art – which depicts the ancient legends of Greece and Rome – Bernini’s main concentration lied on Baroque; though he did sculpt a few classical figures in his time. An example is the Rape of Proserpina, and the magnificent sculpture of Apollo and Daphne. His architectural ability gave way to one of the greatest monuments in history – the St. Peter’s Basilica in Rome. Its twisted columns taken up from Christian architecture of ancient times; the Basilica is a true fusion of sculpture and architecture – ultimately giving way to becoming the centre of the St. Peter’s Cathedral. By 1629, Bernini was forced to rely on others as his work grew in proportion to his commissions; and soon he had to make himself a separate studio in order to carry out his talented works of art. He soon began overseeing the makings of small memorials for heroes past. His greatest yet is that dedicated to Maria Raggi in Rome. He also sculpted many beautifully carved fountains out of white marble. The Triton Fountain in the Piazza Barberini is living proof of his dramatic flair and elegance. (Blackwell, pp 42) The most gifted and stunning religious work ever done by Bernini is universally agreed to be the Throne of Saint Peter; a gild bronze cover for the originally wooden throne of the Pope. A painter in his own right, Bernini also painted many self-portraits of himself – most of which are thought to be a part of the collection of the best self-portraits in the world. Bernini’s fame as a sculpture and architect preceded him as far as France; where King Louis XIV called him for a visit. Bernini stayed there from April of 1655 to November of that same year; though his short time in Paris rendered his contribution to the French art era to be quite negligible. It was the first and only time Bernini would ever venture forth so far away from Rome. The purpose of the trip was to satiate King Louise the XIV’s demands that Bernini come visit him – while simultaneously decorating the King’s new royal residence. His fame preceded him to that great country; so much so, that large throngs of enthusiastic Parisians came to receive him at his arrival in the city of lights, lining the streets as his procession headed for the King’s palace. However, his comparison of the Italian and French art and architecture – in which he blatantly favored his Italian counterparts – soon put him out of favor with the French court. This was to some degree, to blame for the rejection of his designs for the Louvre; the famous French Museum which Louise XIV was having renovated at the time. Bernini took it to heart, when his designs for the Louvre were rejected for that of an amateur architect, Austere Perrault. And he very soon left France to go back to Rome, his beloved country. Paul Fréart de Chantelou was designated to welcome him during his stay in Paris, and wrote a day to day journal of Bernini’s stay – from his meeting with the King Louise XIV to his departure in November of 1655. It focuses on the personality of Bernini and the conception of his art – alongside everyday life at the court of Louise XIV. It shades the different times when the French King confronted the best Italian artist in the world, shedding light on King Louise XIV’s political power. Bernini’s ideas on art are vividly depicted in this diary; and also are the conditions under which he was expected to work at court. According to the journal, when De Chantelou was first summoned by the King to act as emissary for Cavalliere Bernini, he was overwhelmed with the responsibility. On 2nd June, 1655, he took a carriage to meet Bernini’s on the road to Essone, and welcomed him. Bernini’s son and companion, Signor Mattia, had also come along for the trip. Bernini stated to De Chantelou that it was a great honor to be serving the King of France; a deed which had been ordered by the Pope himself. He also stated that Father Oliva, General of the Jesuit Order and a close and trusted friend, whom he had consulted with this important question, had a great hand in deciding his journey; “…had told him that he should not hesitate; if an angel appeared from heaven telling him that he would die during his journey, he would still advise him to go…”3 In his journal, De Chantelou further goes on to describe Bernini’s character, stating that at sixty five years of age, he still has the sharp gait of a man thirty years his junior. His white frizzy hair belies the sharp mind he possesses, with a powerful memory and an even quicker imagination. While speaking of sculpting, Bernini told De Chantelou about the difficulty in creating a realistic image out of marble. He stated that most people could not recognize the contours of another’s face when it was a whitish pallor. Thus, to bring out the dark circles underneath the eyes “one must hollow out marble, in this way obtaining the effect of color and supplementing…color to things.” Comparing the arts of painting and sculpting, he stated that it is easier to accomplish expertise in the field of painting as compared to sculpting in marble. He declared that the sculptor, unlike the painter, could not – via different colors – make an object appear through another. He stated that each art had its own limitations – but he much preferred sculpting. (De Chantelou, pp 4) Upon learning that the King wanted him to make his bust, Bernini was quite angered that he had not been told of it sooner, as he was too old to postpone his departure longer than November of that year. On 22nd July, 1655, De Chantelou came upon him working at the bust, lost in his vigorous profession. The design Bernini created for the pedestal of the bust was a terrestrial globe, which signified that great things could be expected from the King in the future. He excitedly exclaimed that the blue of the sea would contrast with the bronze that would form the rest of the globe; atop which the white marble bust would be placed. . (De Chantelou, pp 6) His love for King Louise XIV of France was the sole reason for his working so hard and with such dedication, he later stated to the King. Louise XIV of France was ecstatic with the outcome; but Bernini’s unfortunate referral to the architecture in Italy as being of finer quality and highly superior when compared with that of France caused a storm to descend upon the royal brow. This is said to be one of the main reasons why Bernini’s designs for the redecoration of the Louvre were not chosen by the French Court; and Bernini had to return to Rome in quite a huff. King Louise XIV’s bust was therefore, the sole work remaining from his time in Paris, which set the standard for royal portraiture for a century. Works Cited Paul Fréart de Chantelou, Diary of Cavaliere Bernini’s Visit to France. (1665) Harrison, Charles. Art in Theory. Wiley-Blackwell, 2000. Irving Lavin (editor). Gianlorenzo Bernini: New Aspects of His Art and Thought: A Commemorative Volume. Pennsylvania State University Press. 1985. 222pp. Peterson, The art of Ecstasy: Teresa, Bernini and Crashaw. pp 183 Rudolf Wittkower. Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. London: Phaidon. 1955. Torgil Magnuson. Rome in the Age of Bernini: From the Election of Innocent X to the Death of Innocent XI. Almqvist & Wiksell. 1982. T. A. Marder. Bernini and the Art of Architecture. Abbeville Press. 1998. Sarah McPhee. Bernini and the Bell Towers: Architecture and Politics at the Vatican. Yale University Press. 2002. http://www.cartage.org.lb/en/themes/Arts/painting/baroque/french-classic/frenchclass.htm http://www.artchive.com/artchive/B/bernini.html Gianlorenzo Bernini; Encyclopedia of Britannica. Read More