传记

早期的生活

贝尼尼出生在那不勒斯1598年,当归Galante和矫揉造作者雕塑家Pietro贝尔尼尼,来自弗洛伦斯。他的第六个十三岁的孩子。Gianlorenzo贝尔尼尼是天才儿童的定义。他是“公认的神童只有八岁时,[和]他被他的父亲,一直鼓励皮特。他的早熟为他赢得了赞赏和支持强大的顾客称赞他为世纪的米开朗基罗”。 他的父亲对他儿子的明显的人才,他带他去罗马展示他的红衣主教和教皇。贝尔尼尼提出了教皇保罗V之前,他做了一个示意图圣保罗,这只是增加了教皇的关注这个年轻人才。一旦他被带到罗马,他从未离开。罗马是贝尔尼尼的城市。“贝尔尼尼有可能只有一个罗马。说,你是为罗马教皇乌尔班八世对他而言,对你和罗马”。这是17世纪的罗马和宗教力量的在这个世界上,贝尔尼尼创建他最伟大的作品。

红衣主教鲍格才家族的早期作品

 

阿波罗和达芙妮(1622 - 25)。

的赞助下奢侈富有的和最强大的红衣主教Scipione鲍格才家族,年轻的雕塑家贝尔尼尼迅速声名鹊起。红衣主教的早期作品中有装饰的花园波勒兹别墅如山羊与婴儿木星与木卫五来讲和一些寓言萧条,包括该死的灵魂和幸福的灵魂最近发现,一直受到一组由Pieter de Jode我打印。 他22岁的时候,他被认为是天才的足以得到教皇的肖像,委员会教皇保罗的半身像V在保罗·盖蒂博物馆,现在。

然而,贝尼尼的声誉是明确建立了四个杰作,执行1619年至1625年间,所有现在显示在波勒兹广场在罗马。艺术历史学家鲁道夫Wittkower这四个——工作埃涅阿斯、安喀塞斯和阿斯卡尼俄斯(1619),普罗塞耳皮娜的强奸(1621 - 22),阿波罗和达芙妮(1622 - 25)大卫(1623 - 24)——“就职新时代历史上欧洲雕塑”。这是其他学者的观点重复。 改编经典的伟大的文艺复兴时期的雕塑和矫饰主义时期的动态能量,贝尔尼尼伪造一个新的、独特的巴克宗教和历史概念雕塑,有力地充满戏剧性的现实主义,激动人心的情感和动态,戏剧作品。贝尔尼尼的早期组和肖像雕塑清单”命令的人类形体运动和技术先进性与只有古典时代最伟大的雕塑家。” 

与那些由他的前任不同,这些雕塑专注于特定的叙事张力的故事他们正试图告诉:埃涅阿斯和他的家人逃离燃烧的特洛伊;最后冥王星的即时掌握猎物珀尔塞福涅,阿波罗的精确时刻看到他心爱的达芙妮开始转型为一个树。他们是短暂的,但在每个故事戏剧性的强大的时刻。贝尔尼尼的大卫是另一个激动人心的例子。与米开朗基罗的一动不动,理想化的大卫所显示的主题用一只手握住一块石头和吊索,苦思冥想,或类似的固定版本由其他文艺复兴时期的艺术家,包括多纳泰罗的展示主题在他的胜利与歌利亚的战斗后,贝尔尼尼说明了大卫与巨人主动作战期间,他扭转身体弹射向歌利亚。强调这些时刻,并确保他们被观众欣赏,贝尔尼尼设计的雕塑与一个特定的观点。原来配售波勒兹别墅内反对墙壁,这样观众的第一个观点是故事的戏剧性的时刻。

这种方法的结果是投资的雕塑更大的心理能量。观众发现更容易判断人物的心境,因此理解更大的故事在工作:达芙妮的敞开口在恐惧和惊讶,大卫咬他的嘴唇在浓度决定,或普罗塞耳皮娜拼命挣扎着。除了描绘心理现实主义,他们更关心代表物理细节。冥王星的蓬乱的头发,普罗塞耳皮娜的顺从肉体,或者是森林的树叶开始信封达芙妮所有展示贝尔尼尼的正确和高兴代表现实世界复杂纹理的大理石的形式。

教皇的艺术家

 

华盖在圣彼得大教堂.

1623年,红衣主教的升Maffeo Barberini教皇宝座教皇乌尔班八世,随后接近垄断的赞助和Bernini教皇和家人,艺术家的视野迅速而广泛地扩大。他不仅是为私人住宅生产雕塑,但是最重要的艺术(和工程)在城市舞台上的角色,雕刻家,建筑师和城市规划师。^[25]正式任命也证明这个——“教皇艺术收藏的馆长,教皇铸造主任卡斯特尔天使,专员喷泉的佛”。^[26]这类职位给贝尔尼尼的机会展示他的多才多艺的技能。从老伟大的抗议,最有经验的架构师,他于1629年被任命为圣彼得的首席架构师,在卡洛Maderno的死亡。从那时起,贝尔尼尼的作品和艺术视觉将放置在罗马的象征性的心。

的圣彼得华盖是他的雄心勃勃的计划的中心的装饰最近完成了但仍然相当朴实圣彼得。设计成一个巨大的螺旋镀金的青铜华盖在圣彼得的坟墓,贝尔尼尼的四柱创造达到近30米(98英尺)从地面和成本约200000罗马scudi(约8美元货币的21世纪初)。写道,“很简单一个艺术史学家,“不像它曾经见过”。后不久圣彼得华盖,贝尔尼尼进行了全方位的再修饰的四个巨大的桥墩在教堂的交叉(即。支持冲天炉的结构),包括,最值得注意的是,四个巨大的,夸张地戏剧性的雕像,其中,气度不凡圣Longinus贝尔尼尼自己执行的(其他三个是由其他当代雕塑家弗朗索瓦•Duquesnoy Francesco麻吉和贝尔尼尼的弟子,安德里亚Bolgi)。贝尔尼尼也开始从事城市八世的坟墓,只有城市死后在1644年完成,一分之一长,著名系列的坟墓,埋葬的纪念碑贝尔尼尼是著名的和传统的风格他留下一个持久的影响,常常被后来的艺术家。的确,贝尔尼尼的最终和最原始的坟墓纪念碑教皇亚历山大七世之墓在圣彼得大教堂,代表,根据种看法,欧文潘诺夫斯基欧洲艺术的顶峰,其创意创新后续艺术家无法超越。

 

红衣主教的半身像阿尔芒德黎塞留(1640 - 1641)。

尽管参与公共建筑,贝尔尼尼仍能生产艺术品显示他的肖像的逐步细化技术。贝尔尼尼的雕塑展示他的能力的不断进化捕捉完全独特的个人特征,他看到在他的保姆。这包括许多城市八世的半身像,家庭Barberini弗朗西斯科的半身像或最值得注意的是,两个波勒兹Scipione的半身像——已迅速由贝尔尼尼的第二一旦缺陷被发现的大理石，Scipione的脸上的表情的暂时的性质通常是由艺术历史学家指出,标志性的巴洛克式的关心表示运动的静态艺术作品。鲁道夫Wittkower“旁观者觉得闪烁的眼睛不仅可能表达式和态度改变,还随意安排地幔的折叠”。

在大理石包括的肖像Costanza Bonarelli(执行约1637),更多的个人不寻常,亲密自然(事实上,它似乎是第一个完全完成大理石非贵族女子的画像,欧洲历史上的一个主要艺术家)。贝尔尼尼与Costanza有染,他的妻子是他的一个助手。当贝尔尼尼疑似Costanza参与他的兄弟,他严重打了他,命令仆人削减她的脸用剃刀。教皇乌尔班八世代表他介入,他只是罚款。

从1630年代末开始,现在在欧洲被称为最有成就的肖像画家之一的大理石,贝尔尼尼也开始接受皇家委员会以外的罗马,等科目红衣主教黎塞留法国我弗朗西斯科·德深紫色,英国查理一世和玛丽亚。查理一世的雕塑从肖像由意大利生产的范戴克,尽管贝尔尼尼更喜欢从生活生产肖像。查尔斯的破产是失去的怀特霍尔宫火1698(尽管它的设计就是通过当代副本和图纸)和玛丽亚不承担由于爆发英国内战.

在无辜的X

 

圣特蕾莎修女的狂喜,1651年。

根据城市八世,贝尔尼尼被任命为首席架构师的圣彼得教堂。贝尔尼尼的工作包括上述华盖和圣Longinus。1636年,渴望最终完成圣彼得的外观,教皇乌尔班命令贝尔尼尼设计和建造两个long-intended贝尔塔的外观:两座塔楼的根基已经设计和建造(即最后一个海湾肢体外观),卡洛Maderno(建筑师中殿和外观)。一旦第一塔于1641年完成,裂缝开始出现在正面,但说来也奇怪,工作继续第二个塔完成了第一个故事。尽管裂缝的存在,工作只在1642年7月停止一次教皇财政部已经耗尽了卡斯特罗的灾难性的战争。与教皇的死亡城市和Barberini-enemy登上权力顶峰的1644年,罗马教皇X Pamphilj,贝尔尼尼的敌人(尤其是Borromini)提出了一个伟大的警报裂缝,预测整个大殿的灾难,将责任完全在贝尔尼尼。随后的调查实际上揭示了裂缝的原因是Maderno基金会和缺陷不是贝尔尼尼的精心设计,一个免除后进行细致的调查证实了1680年教皇无辜的习。

 

真相公布的时间,波勒兹广场,罗马。图片由保罗·蒙蒂

尽管如此,贝尔尼尼的对手在罗马成功地严重损害城市的声誉的艺术家和说服教皇(1646年2月)的完整拆除顺序两个塔,的确贝尔尼尼的羞辱和金融损害。在这之后,他的职业生涯中,难得的一个不足贝尔尼尼撤退到自己:根据他的儿子,多梅尼科。他随后1647年未完成的雕像,真相公布的时间,旨在成为他的慰抚对这件事的评论,表达了他的信仰,最终会揭示故事背后的真相,他完全,确实发生了。

贝尔尼尼并没有完全失去了庇护,甚至教皇的。无辜的X维护贝尔尼尼的官方的角色给他的城市。贝尔尼尼的设计和方向下继续工作,布置大量新的圣彼得但完全朴实中殿,外加一个精致的彩色大理石地板,大理石墙上面临壁柱和分数的粉刷雕像和浮雕。它并非没有原因,教皇亚历山大七世的妙语,“如果要删除从圣彼得的一切是由骑士贝尔尼尼,寺庙是人去楼空。事实上,鉴于他所有的很多,大殿内的各种工作几十年,贝尔尼尼,是由于大部分的责任最终的和持久的美学外观圣彼得和情绪的影响。他还允许继续城市八世墓,尽管Barberini无辜的反感。几个月后完成城市墓,贝尔尼尼赢了,在有争议的情况下,Pamphilj委员会享有盛誉四河喷泉佛,庆祝他的耻辱,开始了他生命中一个又一个辉煌的一章。

 

纪念玛丽亚拉吉,1651年。

如果有怀疑贝尔尼尼的位置作为罗马的杰出艺术家,四河喷泉的成功将其删除。贝尔尼尼继续接收来自教皇的佣金无辜的X和其他罗马教士和贵族的高级成员,以及尊贵顾客以外的罗马,等弗朗西斯科·德。在这种环境下,贝尔尼尼的艺术风格盛行。等新类型的葬礼的纪念碑的设计,看似漂浮的大奖章,在空中盘旋,为死者修女玛丽亚拉吉,而教堂他设计,如Raimondi教堂的教会圣皮特Montorio,说明了贝尔尼尼可以使用隐藏的照明来帮助建议在叙述他描绘神的干预。

Cornaro教堂展示贝尔尼尼的能力整合雕塑、建筑、壁画、灰泥、照明为“神奇的整体”(贝尔composto,使用早期传记作家菲利普·Baldinucci架构)的术语来述他的方法,从而创造出学者欧文·拉文称为“统一的艺术作品”。Cornaro教堂的焦点是西班牙修女的狂喜和saint-mystic,阿维拉的特蕾莎修女。贝尔尼尼向观众呈现了一个夸张地生动的肖像,在闪闪发光的白色大理石,让特蕾莎修女和安静的微笑天使,他小心翼翼地抓住箭穿刺圣人的心。两侧的教堂艺术家的地方(在什么只能让观众戏剧盒),缓解各种肖像Cornaro家族成员——曾在威尼斯家族教堂,包括红衣主教费德里科•Cornaro委托贝尔尼尼的教堂——谁谁在动画对话,大概是关于事件发生在他们面前。结果是一个复杂而巧妙地策划建筑环境提供精神上的上下文(天上的设置和一个隐藏的光源)表明观众这个神奇的终极自然事件。

艺术绝技,包含所有的多种形式的视觉艺术和技术,贝尔尼尼在他的处置,包括隐藏的照明,薄的光束,隐性的建筑空间,秘密的镜头,和二十多种类型的彩色大理石:这些所有的组合来创建最终的作品——“完善、高度戏剧性和深感满足无缝合奏”。

罗马装饰在亚历山大七世

在他加入圣彼得的椅子,教皇亚历山大七世千(1655 - 67)开始实施他非常雄心勃勃的计划,把罗马转变成一个华丽的世界资本通过系统性的,大胆的和昂贵的城市规划。这样做,他完成了漫长而缓慢的娱乐的城市罗马的荣耀”覆盖着Romae”——已经开始在十五世纪文艺复兴时期的教皇。亚历山大立即委托大型建筑城市的变化,例如,连接新的和现有建筑的开放街道和广场。贝尔尼尼的职业生涯显示更加重视建筑设计(和他们的直接环境)在这个自命不凡,有更大的机会。

在这一时期括贝尔尼尼的作品导致圣彼得广场。之前在一个广泛的、非结构化的空间,他创建了两个半圆形的柱廊,其中每一行成立四个白色的列。这导致一个椭圆形,组成了一个包容性的领域内,任何收集公民,朝圣者和游客可以见证的外观pope-either当他出现在正面上的凉廊梵蒂冈圣彼得在阳台或邻近的宫殿。通常比作两臂伸出从教堂接受等待的人群,贝尔尼尼的创建扩展的象征伟大梵蒂冈面积,创造一个“令人振奋的区域”,在架构上,一个“明确的成功”。

其他地方在梵蒂冈,贝尔尼尼创建系统重组和雄伟的装饰空的或审美的平庸的空间作为他设计存在至今,已经成为不可磨灭的图标的辉煌教廷选区。在教堂的迄今为止朴实拱点,讲座中圣彼得的象征性的宝座,重新安排作为一个巨大的镀金青铜奢侈相匹配华盖先前创建的世纪。贝尔尼尼的完全重建Scala Regia,庄严的教皇的圣彼得斯和梵蒂冈宫之间的楼梯,略少的外表但仍征税贝尔尼尼的创造力(例如,使用光学错觉的聪明技巧)创建一个看似制服,完全功能,但令人印象深刻的像个楼梯连接两个不规则的建筑在一个甚至更多的不规则的空间。

并不是所有的工作在这个时代是在如此大的范围。事实上,欧盟委员会贝尔尼尼收到建造的教堂桑特'Andrea al复兴运动耶稣会士是相对温和的物理尺寸(虽然在其内部彩色光辉),贝尔尼尼执行完全免费的。桑特'Andrea与圣彼得piazza-unlike共享他的对手的复杂的几何图形弗朗西斯科·Borromini——专注于基本的几何形状,圆形和椭圆形创造精神上强烈的建筑。同样,贝尔尼尼主持的色彩和装饰在这些建筑中,游客的注意力关注这些简单形式的支撑。雕塑装饰从来没有消除,但其使用更多的是最小的。他还设计了圣玛利亚教堂戴尔'Assunzione镇的Ariccia的圆形轮廓,圆形穹顶和three-arched柱廊。

访问法国

 

贝尔尼尼的自画像,c。1665。

1665年4月底,在罗马仍然被认为是最重要的艺术家,如果确实没有在整个欧洲,贝尔尼尼迫于政治压力(来自法国法院和教皇亚历山大七世)前往巴黎为国王路易十四工作,要求建筑师完成工作在卢浮宫的皇家宫殿。直到10月中旬贝尔尼尼仍将在巴黎。路易十四分配成员的法院作为贝尔尼尼的翻译,导游,和整体的同伴,保罗Freart de Chantelou,贝尔尼尼杂志的访问记录贝尔尼尼的行为和话语在巴黎。

贝尔尼尼的支持率,他走在巴黎的街上满是欣赏的人群。但事情很快化为泡影。贝尔尼尼提出了一些设计的东方(即前面。,所有重要的主要立面的整个宫殿)罗浮宫,一会儿后,拒绝了。通常在贝尔尼尼的奖学金,他的卢浮宫设计被拒是因为路易斯和他的财务顾问让-巴蒂斯特·科尔伯特认为他们太有意大利风格或太巴洛克风格。事实上,正如佛朗哥Mormando指出的那样,“美学中从未提及任何[的]。幸存的备忘录”,科尔伯特在法国法院或任何艺术顾问。明确的理由拒绝功利主义,即物理安全和舒适的水平(例如厕所的位置)。

 

1665年路易十四的半身像。

其他项目遭受同样的命运。除了Chantelou,贝尔尼尼未能建立重要的友谊在法国法院。他经常负面评论法国文化的各个方面,尤其是艺术和建筑进行的并不顺利,特别是在并列赞美他的意大利艺术和建筑(特别是罗马);他说,一幅画圭多雷尼价值超过所有的巴黎。唯一剩下的从他的时间在巴黎工作路易十四的半身像。在罗马,贝尔尼尼创造了不朽的路易十四的骑马雕像;当它最终到达巴黎(1685年,艺术家死后五年),法国国王发现它极其令人反感,希望它摧毁了;这是相反的re-carved成表示古罗马英雄马库斯库尔修斯。

死亡

贝尔尼尼仍然身心充满活力,活跃于他的职业,直到他死前两周,由于中风。他在最后两年雕刻(克里斯蒂娜女王据说)破产的救世主和监督恢复Palazzo德拉Cancelleria按照教皇的佣金。他死于1680年11月28日在罗马,葬,几乎没有公共宣传,简单,朴实贝尔尼尼家族墓穴,连同他的父母,圣玛利亚教堂马焦雷。虽然一个精心设计的葬礼的纪念碑曾经计划(大约在1670年的记录由一个现存的示意图),它从来没有建立和贝尔尼尼仍然没有永久公开承认他的生活和事业,直到1898年在罗马一个简单的斑块和小型萧条的脸贴在家中通过德拉Mercede,宣称“在这里生活和死亡Gianlorenzo贝尔尼尼,一个主权的艺术,都恭敬地鞠了一躬教皇之前,王子,和众多的人民。”

个人生活

在1630年代,他参与和一个已婚的女人名叫Costanza(他的妻子车间助理,马特奥Bonucelli,也称为Bonarelli)和雕刻她的半身像(现在在巴保罗,佛罗伦萨)在他们的浪漫的高度。她后来与他的弟弟有染,谁是贝尔尼尼的得力助手在他的工作室。当吉安洛伦佐发现了科斯坦萨及其兄弟的疯狂的愤怒,他追赶他的兄弟路易基在罗马的大街上,和打他几乎死在一个谷仓。惩罚他不忠的情妇,贝尔尼尼有一个仆人去这些房子,那里的仆人剃刀割几次她的脸。仆人后来入狱,和被判通奸。贝尔尼尼不会结婚,直到1639年5月,41岁,当他22岁的罗马妇女结婚,Caterina Tezio,包办婚姻。她给他生了十一个孩子,包括最小的儿子多梅尼科贝尔尼尼,谁后来成为他第一个传记作家。激情和血腥的愤怒后,他深深转向宗教,从不偏离了他的妻子。

体系结构

贝尔尼尼的建筑作品包括神圣和世俗建筑,有时他们的城市设置和内饰。他调整现有建筑和设计新结构。在他最著名的作品广场圣皮特(1656 - 67)广场和前面的柱廊圣彼得大教堂和教堂的室内装饰。在他的世俗作品许多罗马宫殿:卡洛Maderno去世后,他接管了建筑工程的监督Barberini宫殿从1630年开始,与他共事Borromini;宫殿Ludovisi(现在宫殿Montecitorio,1650年开始),和宫(现在宫殿Chigi-Odescalchi,1664)。

 

圣彼得华盖,1624 - 1633。

他的第一个建筑项目是教会的正面和翻新圣诞老人Bibiana(1624 - 26)和圣彼得华盖(1624 - 33),铜圆柱状的树冠的高坛圣彼得大教堂。之前,1629年圣彼得华盖完成,城市八世让他负责所有在圣彼得的建筑作品。然而,贝尔尼尼开始失宠教皇无辜的XPamphili:一个原因是教皇的仇恨Barberini因此向他们的客户包括贝尔尼尼。另一个原因是乡镇的失败由贝尔尼尼设计并建造圣彼得大教堂,开始在城市八世统治时期。完成北塔,只有部分完成南塔1646年下令拆除了无辜的,因为他们过度的体重造成裂缝在教堂的外观并威胁要做更多灾难性的破坏。专业意见当时事实上分歧真实情况的严重性(贝尔尼尼的对手Borromini传播一个极端,anti-Bernini灾难性的问题)和责任损害的问题:谁是罪魁祸首?贝尔尼尼?教皇乌尔班八世谁会迫使贝尔尼尼设计过于精细的塔?已故的建筑师圣彼得,卡洛Maderno谁建塔的薄弱基础?官方1680年教皇调查事实上完全无罪贝尔尼尼,而归罪于Maderno。从来不会完全没有赞助Pamphilj年期间,无辜的死后1655年贝尔尼尼恢复了一个主要角色在圣彼得的摆设教皇亚历山大七世千,导致他的广场的设计和柱廊在圣彼得面前。进一步在梵蒂冈贝尔尼尼的作品包括Scala Regia(1663 - 66),梵蒂冈宫的大楼梯入口和讲座中圣彼得的椅子上,在圣彼得的拱点,除了教堂的中殿的圣餐。

 

广场的柱廊,圣彼得面前

贝尔尼尼没有从头构建许多教堂;相反,他的努力都集中在预先存在的结构,特别是圣彼得。他满足三个委员会为新的教堂,他的身高让他自由设计结构和装饰室内设计以一致的方式。最著名的是小但椭圆形装饰富丽堂皇的教堂桑特'Andrea al复兴运动,耶稣会见习(1658年开始),代表一个罕见的作品贝尔尼尼的儿子的手,多梅尼科,报告说,他的父亲是真的很高兴。贝尔尼尼设计的教堂避暑度假地甘多尔福堡发表上述讲话 (圣托马索·维拉诺瓦,1658 - 61)Ariccia (圣玛丽亚Assunta,1662 - 64)。

当贝尔尼尼1665年被邀请到巴黎工作做准备路易十四,他提出的东立面设计卢浮宫宫殿,但他的项目最终拒绝支持更严厉和经典的提案的法国医生和业余建筑师克劳德·波瑞特,^[58]信号的减弱影响意大利艺术在法国霸权。贝尔尼尼的项目在本质上是植根于意大利巴洛克风格的城市规划相关的传统公共建筑设置,经常导致城市空间的创新建筑表情像piazze或广场。然而,通过这一次,法国君主专制现在首选的classicising不朽的严重性贝洛的立面中,毫无疑问的说政治红利,是由法国人设计的。最终版本,然而,包括贝尔尼尼的功能背后的平屋顶的学问的栏杆。

1639年,贝尔尼尼买了财产的角落通过德拉Mercede通过德尔Collegio di宣传的在罗马。他翻新和扩展现有的宫殿,现在是什么通过德拉Mercede 11和12号。(建筑有时被称为“宫殿贝尔尼尼,”但这标题更恰当的属于后者贝尔尼尼家族的大家里通过德尔·科索,他们搬到了十八世纪)。贝尔尼尼住在11号,但这是广泛地改变了在19世纪。已经指出非常难堪的一定是贝尔尼尼从窗户照见证他的住所,塔的建设和穹顶桑特'Andrea delle FratteBorromini,到他的竞争对手,并拆除他的教堂,贝尔尼尼,设计Collegio di宣传的Borromini的教堂所取代。

罗马的喷泉

 

丰塔纳一些Quattro Fiumi.

真正的巴洛克风格的装饰性的活力,贝尔尼尼最天才的作品是他的罗马喷泉,公共工程和教皇的纪念碑。他的喷泉包括海神之泉、丰塔纳德尔三全音和蜜蜂的Barberini喷泉丰塔纳delle Api.四条河流的喷泉,或丰塔纳一些Quattro Fiumi,在佛是一个壮观的杰作和政治寓言。多次重复的,但是假的,故事讲述,一个贝尔尼尼河的神回避了他的目光在立面的反对桑特'Agnese在以前的(设计的天赋,但不成功,政治对手弗朗西斯科·Borromini),不可能因为喷泉建于几年前教堂的外观。贝尔尼尼也是艺术家的沼泽的雕像拉丰塔纳德尔•莫罗在佛(1653)。

其他作品

 

吉安洛伦佐贝尔尼尼在1665年,作画Giovanni Battista Gaulli.

虽然不是提到了他最早的传记作家,Baldinucci或Domenico贝尔尼尼大象和方尖塔是一个雕塑位于万神殿附近,Piazza della密涅瓦,多米尼加教堂前面的吗圣玛丽亚sopra密涅瓦。教皇亚历山大七世决定,他想要一个小的古埃及方尖塔(发现在广场)竖立在同一网站,1665年,他委托贝尔尼尼创建一个支持方尖碑的雕塑。一头大象的雕塑的方尖碑背上是执行贝尔尼尼的一个学生,Ercole Ferrata在主人的设计,并在1667年完成。基础上的铭文与埃及女神伊希斯和罗马女神密涅瓦圣母玛利亚,据说取代那些异教女神和教会是专用的。^[一个受欢迎的轶事大象微笑的担忧。找出为什么它是微笑,传说,观众必须检查动物的尾部,并注意其肌肉紧张得尾巴转向左边,如果排便。动物的后面是直接对准多米尼加秩序的总部之一,住房办公室的宗教以及办公室的父亲朱塞佩屋。多米尼加的天主教修士谁是贝尔尼尼的主要对手之一,作为最后的敬礼和最后一句话。

 

贝尔尼尼的坟墓圣玛利亚教堂马焦雷.

1677年在他小佣金,贝尔尼尼一起工作Ercole Ferrata创建一个喷泉里斯本葡萄牙贵族的宫殿,计数Ericeira:复制他早期的喷泉,贝尔尼尼提供的设计由Ferrata喷泉雕塑,以海王星和特里同四个盆地。喷泉幸存了下来:自1945年以来的选区以外的花园-帕拉西奥市Nacional de Queluz几英里外的里斯本。同样的赞助人,他也创造了一系列画作曾与路易十四的斗争主题。这些作品失去了宫,其伟大的图书馆和丰富的艺术收藏项Ericeira,大部分被毁以及中央1755年里斯本大地震的结果。

在1620年代,教皇乌尔班八世想要鼓励他的祝福凉廊壁画圣彼得(从来没有执行),贝尔尼尼正式开始发展和完善他的技术作为一个画家。他可能学过最基本的从他的父亲是一个画家,除了一些培训在佛罗伦萨画家的工作室,Cigoli。根据早期传记作家,Baldinucci Domenico贝尔尼尼,贝尔尼尼完成至少150油画,主要是在1620年代和30年代的几十年,但目前没有超过35 - 40幸存的绘画,可以自信地归因于他的手(他们大多是特写等几个非常熟self-portraits-set在一个空白的背景下,使用一个松散,绘画一笔(类似于他的西班牙当代委拉斯开兹)和一个非常有限的调色板的忧郁与深明暗对比的颜色。唯一可靠的是托马斯安德鲁的使徒和在伦敦国家美术馆。至于他的图纸,大约300仍然存在,但这是一个极小的比例的图纸他会创建在他有生之年,这包括快速草图与主要的雕塑或建筑委员会,表示图纸作为礼物给他的顾客和贵族朋友、玲珑、完全完成了画像,比如那些的Mascardi(,巴黎美术学院)和波勒兹Scipione Sisinio波里(在纽约摩根图书馆)。^[66]

在众多Luigi贝尔尼尼曾在他的监督下,Speranza斯特凡诺,朱利亚诺Finelli,安德里亚Bolgi,菲利波Parodi,Giacomo安东尼奥Fancelli,一员Morelli,弗朗西斯科·Baratta,尼哥底母提契诺年轻,弗朗索瓦Duquesnoy。他的竞争对手在建筑之一弗朗西斯科·Borromini和彼得罗达Cortona;在雕塑,亚历山德罗Algardi.

Biography

Early life

Bernini was born in Naples in 1598 to Angelica Galante and Mannerist sculptor Pietro Bernini, originally from Florence. He was the sixth of their thirteen children Gianlorenzo Bernini was the definition of childhood genius. He was “recognized as a prodigy when he was only eight years old, [and] he was consistently encouraged by his father, Pietro. His precocity earned him the admiration and favor of powerful patrons who hailed him as ‘the Michelangelo of his century’”. His father was so impressed by his son’s obvious talent that he took him to Rome to showcase him to the cardinals and Pope. Bernini was presented before Pope Paul V, for whom he did a sketch of Saint Paul, which only increased the pope’s attention on this young talent.Once he was brought to Rome, he never left. Rome was Bernini’s city. “For Bernini there could by only one Rome. ‘You are made for Rome,’ said Pope Urban VIII to him, ‘and Rome for you’”.^[16]It was in this world of 17th century Rome and religious power, that Bernini created his greatest works.

Early works for Cardinal Borghese

Under the patronage of the extravagantly wealthy and most powerful Cardinal Scipione Borghese, the young Bernini rapidly rose to prominence as a sculptor. Among the early works for the cardinal were decorative pieces for the garden of the Villa Borghese such as The Goat Amalthea with the Infant Jupiter and a Faun, and several allegorical busts, including the Damned Soul and Blessed Soul, which were recently discovered to have been influenced by a set of prints by Pieter de Jode I.^[17] By the time he was twenty-two, he was considered talented enough to have been given a commission for a papal portrait, the Bust of Pope Paul V, now in the J. Paul Getty Museum.

Bernini's reputation, however, was definitively established by four masterpieces, executed between 1619 and 1625, all now displayed in the Galleria Borghese in Rome. To the art historian Rudolf Wittkower these four works—Aeneas, Anchises, and Ascanius(1619), The Rape of Proserpina (1621–22), Apollo and Daphne (1622–25), and David(1623–24)—"inaugurated a new era in the history of European sculpture".  It is a view repeated by other scholars.^[19] Adapting the classical grandeur of Renaissance sculpture and the dynamic energy of the Mannerist period, Bernini forged a new, distinctly Baroque conception for religious and historical sculpture, powerfully imbued with dramatic realism, stirring emotion and dynamic, theatrical compositions. Bernini's early sculpture groups and portraits manifest "a command of the human form in motion and a technical sophistication rivalled only by the greatest sculptors of classical antiquity." 

Unlike those done by his predecessors, these sculptures focus on specific points of narrative tension in the stories they are trying to tell: Aeneas and his family fleeing the burning Troy; the instant that Pluto finally grasps the hunted Persephone; the precise moment that Apollo sees his beloved Daphne begin her transformation into a tree. They are transitory but dramatic powerful moments in each story. Bernini's David is another stirring example of this. Unlike Michelangelo's motionless, idealized David—which shows the subject holding a rock in one hand and a sling in the other, contemplating the battle, or similarly immobile versions by other Renaissance artists, including Donatello's—which show the subject in his triumph after the battle with Goliath, Bernini illustrates David during his active combat with the giant, as he twists his body to catapult toward Goliath. To emphasize these moments, and to ensure that they were appreciated by the viewer, Bernini designed the sculptures with a specific viewpoint in mind. Their original placements within the Villa Borghese were against walls, so that the viewers' first view was the dramatic moment of the narrative.^[21][22]

The result of such an approach is to invest the sculptures with greater psychological energy. The viewer finds it easier to gauge the state of mind of the characters and therefore understands the larger story at work: Daphne's wide open mouth in fear and astonishment, David biting his lip in determined concentration, or Proserpina desperately struggling to free herself. In addition to portraying psychological realism, they show a greater concern for representing physical details. The tousled hair of Pluto, the pliant flesh of Proserpina, or the forest of leaves beginning to envelop Daphne all demonstrate Bernini's exactitude and delight for representing complex real world textures in marble form.^[23][24]

Papal artist

In 1623, upon the ascent of Cardinal Maffeo Barberini to the papal throne as Pope Urban VIII, and Bernini's subsequent near monopolistic patronage from the Barberini pope and family, the artist's horizons rapidly and widely broadened. He was not just producing sculpture for private residences, but playing the most significant artistic (and engineering) role on the city stage, as sculptor, architect, and urban planner. His official appointments also testify to this—"curator of the papal art collection, director of the papal foundry at Castel Sant'Angelo, commissioner of the fountains of Piazza Navona". Such positions gave Bernini the opportunity to demonstrate his versatile skills throughout the city. To great protest from older, most experienced architects, he was appointed Chief Architect of St Peter's in 1629, upon the death of Carlo Maderno. From then on, Bernini's work and artistic vision would be placed at the symbolic heart of Rome.

The St Peter's Baldacchino was the centerpiece of his ambitious plans for the embellishment of the recently completed but still rather unadorned St. Peter's. Designed as a massive spiraling gilded bronze canopy over the tomb of St Peter, Bernini's four-pillared creation reached nearly 30 m (98 ft) from the ground and cost around 200,000 Roman scudi (about $8m in currency of the early 21st century). "Quite simply", writes one art historian, "nothing like it had ever been seen before".Soon after the St Peter's Baldacchino, Bernini undertook the whole-scale embellishment of the four massive piers at crossing of the basilica (i.e., the structures supporting the cupola) including, most notably, four colossal, theatrically dramatic statues, among them, the majestic St. Longinus executed by Bernini himself (the other three are by other contemporary sculptors François Duquesnoy, Francesco Mochi, and Bernini's disciple, Andrea Bolgi). Bernini also began work on the tomb for Urban VIII, completed only after Urban's death in 1644, one in a long, distinguished series of tombs and funerary monuments for which Bernini is famous and a traditional genre upon which his influence left an enduring mark, often copied by subsequent artists. Indeed, Bernini's final and most original tomb monument, the Tomb of Pope Alexander VII, in St. Peter's Basilica, represents, according to Erwin Panofsky, the very pinnacle of European funerary art, whose creative inventiveness subsequent artists could not hope to surpass.

Despite this engagement with public architecture, Bernini was still able to produce artworks that showed the gradual refinement of his portrait technique. A number of Bernini's sculptures show the continual evolution of his ability to capture the utterly distinctive personal characteristics that he saw in his sitters. This included a number of busts of Urban VIII himself, the family bust of Francesco Barberini or most notably, the Two Busts of Scipione Borghese—the second of which had been rapidly created by Bernini once a flaw had been found in the marble of the first. The transitory nature of the expression on Scipione's face is often noted by art historians, iconic of the Baroque concern for representing movement in static artworks. To Rudolf Wittkower the "beholder feels that in the twinkle of an eye not only might the expression and attitude change but also the folds of the casually arranged mantle".

Portraits in marble include that of Costanza Bonarelli (executed around 1637), unusual in its more personal, intimate nature (in fact, it would appear to be the first fully finished marble portrait of a non-aristocratic woman by a major artist in European history). Bernini had an affair with Costanza, who was the wife of one of his assistants. When Bernini then suspected Costanza of involvement with his brother, he badly beat him and ordered a servant to slash her face with a razor. Pope Urban VIII intervened on his behalf, and he was simply fined.

Beginning in the late 1630s, now known in Europe as one of the most accomplished portraitists in marble, Bernini also began to receive royal commissions from outside Rome, for subjects such as Cardinal Richelieu of France, Francesco I d'Este of Modena, Charles I of England and Henrietta Maria. The sculpture of Charles I was produced in Italy from a portrait made by Van Dyck, though Bernini preferred to produce portraits from life. The bust of Charles was lost in theWhitehall Palace fire of 1698 (though its design is known through contemporary copies and drawings) and that of Henrietta Maria was not undertaken due to the outbreak of the English Civil War.

Under Innocent X

Under Urban VIII, Bernini had been appointed chief architect for the basilica of St. Peter's. Work by Bernini included the aforementioned Baldacchino and the St Longinus. In 1636, eager to finally finish the exterior of St. Peter's, Pope Urban ordered Bernini to design and build the two long-intended bell towers for its facade: the foundations of the two towers had already been designed and constructed (namely, the last bays at either extremity of the facade) by Carlo Maderno (architect of the nave and the facade) decades earlier. Once the first tower was finished in 1641, cracks began to appear in the facade but, curiously enough, work continued on the second tower and the first story was completed. Despite the presence of the cracks, work only stopped in July 1642 once the papal treasury had been exhausted by the disastrous War of Castro. With the death of Pope Urban and the ascent to power of Barberini-enemy in 1644, Pope Innocent X Pamphilj, Bernini's enemies (especially Borromini) raised a great alarm over the cracks, predicting a disaster for the whole basilica and placing the blame entirely on Bernini. The subsequent investigations in fact revealed the cause of the cracks as Maderno's defective foundations and not Bernini's elaborate design, an exoneration later confirmed by the meticulous investigation conducted in 1680 under Pope Innocent XI.

Nonetheless, Bernini's opponents in Rome succeeded in seriously damaging the reputation of Urban's artist and in persuading the pope to order (in February 1646) the complete demolition of both towers, to Bernini's great humiliation and indeed financial detriment. After this, one of the rare failures of his career, Bernini retreated into himself: according to his son, Domenico. his subsequent unfinished statue of 1647,Truth Unveiled by Time, was intended to be his self-consoling commentary on this affair, expressing his faith that eventually Time would reveal the actual Truth behind the story and exonerate him fully, as indeed did occur.

Bernini did not entirely lost patronage, not even of the pope. Innocent X maintained Bernini in all of the official roles given to him by Urban. Under Bernini's design and direction, work continued on decorating the massive new but entirely unadorned nave of St. Peter's, with the addition of an elaborate multi-colored marble flooring, marble facing on the walls and pilasters, and scores of stuccoed statues and reliefs. It is not without reason that Pope Alexander VII once quipped, 'if one were to remove from Saint Peter's everything that had been made by the Cavalier Bernini, that temple would be stripped bare.' Indeed, given all of his many and various works within the basilica over several decades, it is to Bernini that is due the lion's share of responsibility for the final and enduring aesthetic appearance and emotional impact of St. Peter's.He was also allowed to continue to work on Urban VIII's tomb, despite Innocent's antipathy for the Barberini.^[36] A few months after completing Urban's tomb, Bernini won, under controversial circumstances, the Pamphilj commission for the prestigious Four Rivers Fountain on Piazza Navona, marking the end of his disgrace and the beginning a yet another glorious chapter in his life.

If there had been doubts over Bernini's position as Rome's preeminent artist, the success of the Four Rivers Fountain removed them. Bernini continued to receive commissions from Pope Innocent X and other senior members of Rome's clergy and aristocracy, as well as from exalted patrons outside of Rome, such as Francesco d'Este. In such an environment, Bernini's artistic style flourished. New types of funerary monument were designed, such as the seemingly floating medallion, hovering in the air as it were, for the deceased nun Maria Raggi, while chapels he designed, such as the Raimondi Chapel in the church of San Pietro in Montorio, illustrated how Bernini could use hidden lighting to help suggest divine intervention within the narratives he was depicting.

The Cornaro Chapel showcased Bernini's ability to integrate sculpture, architecture, fresco, stucco, and lighting into "a marvelous whole" (bel composto, to use early biographer Filippo Baldinucci's term to describe his approach to architecture) and thus create what scholar Irving Lavin has called the "unified work of art". The central focus of the Cornaro Chapel is the ecstasy of the Spanish nun and saint-mystic, Teresa of Avila. Bernini presents the spectator with a theatrically vivid portrait, in gleaming white marble, of the swooning Teresa and the quietly smiling angel, who delicately grips the arrow piercing the saint's heart. On either side of the chapel the artist places (in what can only strike the viewer as theater boxes), portraits in relief of various members of the Cornaro family — the Venetian family memorialized in the chapel, including Cardinal Federico Cornaro who commissioned the chapel from Bernini — who are in animated conversation among themselves, presumably about the event taking place before them. The result is a complex but subtly orchestrated architectural environment providing the spiritual context (a heavenly setting with a hidden source of light) that suggests to viewers the ultimate nature of this miraculous event.

It was an artistic tour de force that incorporates all of the multiple forms of visual art and technique that Bernini had at his disposal, including hidden lighting, thin gilded beams, recessive architectural space, secret lens, and over twenty diverse types of colored marble: these all combine to create the final artwork—"a perfected, highly dramatic and deeply satisfying seamless ensemble".