Bernini And Borromini Essay

Even though Gian Lorenzo Bernini wasn't the only sculptor of his time, he should go down in history as one of the best sculptors because of the Apollo and Daphne, and the Ecstasy of Saint Teresa, which were two of his best sculptures. Not only was Bernini a great sculptor, but he also did many other things like painting, designed stage sets, wrote plays, and did some architect. He also maintained good relationships with people, and had great faith. Bernini went to religious exercises and had a lighter personality which he showed in some of his works as a sense of humor.

The masterworks of Bernini and Canova shared similarities along the lines of the sculptors’ works were crafted with precision and a keen eye for detail and were successful in giving their works a realistic effect. Both workers were masters in their own time and were able to manipulate marble to as though they were constructing a painting. They both incorporated classical forms in their works, depicting great scenes from mythical stories that could be viewed in great detail at a 360-degree angle.

One of the most famous painter and sculptors of the Italian Renaissance, the age of renewal and cultural achievement circa 1500, was the artistic genius Michelangelo Buonarroti. The man that desired nothing but perfection often reached it in his work. He captured the motion of the human figure and the anatomy of muscles in a way that was increasingly beautiful and startlingly realistic. Whether because of one of the most famous sculptures in history, “the David” or the paintings on the ceiling of the Sistine Chapel, that became the textbook examples for the art period of High Renaissance, Michelango’s art changed the world and he will continue to be studied with awe throughout history.

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

Filippo Brunelleschi was a genius at not only architecture, but at sculpture, woodcarving, drawing, and clock making. When the priests in Florence, Italy in 1418 were deciding on what they were going to do with the big hole they had in the roof of their cathedral, Brunelleschi volunteered to be the architect (King, 2013). His motivation was to help the church, however, he also knew that this would allow him to have never ending fame and a big salary once the job was complete. Even though he would not reveal his plan on how he would accomplish this extraordinary task, they accepted his as the supervisor of this great project.

Brunelleschi’s mysterious design touched their imagination. As a boy, during his goldsmith’s apprenticeship, he mastered drawing and painting, wood carving, sculpture in silver and bronze,

A contest was designed to encourage the greatest architects to create plans for what the cathedral’s ceiling would look like. Ultimately, an artist named Filippo Brunelleschi won, and was responsible for the building of the Duomo in Florence. Upon first glance, the building of the Duomo may not strike people as a monumental or important event in history. However, it is important to remember the Duomo was constructed in Florence, where flying buttresses -an architectural design that carried the weight of roofs on large buildings to the ground- were illegal. Construction of the Duomo took place from 1420 to 1436, and required Brunelleschi to engineer a support system for the roof, previously thought impossible. Traveling back to the Italian Renaissance would allow me to witness architectural history. I would be able to observe Brunelleschi’s imagination come to life, question his methods of thinking, and watch the development of the Duomo create new opportunities for architects in the

Brunelleschi spent his early years studying art and linear relationships. He also spent 15 years studying the secrets of Roman architecture. Investigations reveal he incorporated this knowledge into the construction of the dome with the use of inverted arches for the walls, and the “spina pesce” (herringbone) pattern of brickwork used in the dome, which directed the weight of the bricks

First when Brunelleschi passed away in 1446 “his funeral the mighty and lowly came from miles away to pay their respects to his genius and his generosity”(54). Even at the time, people recognized everything he does will live on past his death and many will use it hundreds of years into the future. Brunelleschi had undoubted respect among his peers. Secondly, he had earned respect from historians and earned the title of “The Greatest Architect of Early Renaissance Italy”. Not only did this title prove how important he was to the Renaissance, but how his linear perspective and Cathedral of Florence is impactful today. Almost all artist use linear perspective in any given painting. Lastly, used a lot during the Renaissance and he was the person that started it all, now a day you can identify that a picture is from the Renaissance because of the background. Brunelleschi was a well-respected person with important title to his name as well as inventing linear perspective, something all artist use is why he left a great legacy

As I read the article for my research on the design of the cupola of Florence's Cathedral I learned that it was one of the masterpieces in architecture of the Renaissance. Brunelleschi was a goldsmith not an architect but he was genius at creating things. He came up with a design of a dome being nested within another dome.

Recognizing the need for oversight in public art as well as private art, in 1476, de’ Medici intervened in the town of “Pistoia’s choice of Verrocchio [a Florentine master painter, sculptor and goldsmith] for the cenotaph for Niccolò Forteguerri [papal legate and cardinal, one of few who held degrees in both civil and church law] in Pistoia Cathedral” Almost a decade later, de’ Medici also used his influence “to employ [Florentine sculptor and architect] Giuliano da Sangallo to build the church of Santa Maria delle Carceri.” de’ Medici’s influence continued when he again chose, in 1489, Giuliano da Sangallo for the building of the sacristy of Santo Spirto. With these buildings creating an impression on all who saw them, others began to look to de’ Medici for advice. Architects of the Palazzo Strozzi and the house of Bartolomeo Scala guided their work to model that established by de’ Medici in Florence. Thus, not only did this amazing patron have an influence on structures of his choice inside of his beautiful city of Florence, de’ Medici also had a large impact on those structures build by others in the same city.

Florence’s main cathedral, known as “Brunelleshi’s Dome”, was a huge architectural achievement. The idea of its production started when the people of Florence decided to address the huge hole that had disfigured the church for decades and make the church more beautiful and grand than ever. It quickly formed into a bit of a competition as architects were brought in to discover the best and most practical way build the dome that they were envisioning. In the end, the task was awarded Filippo Brunelleschi and Lorenzo Ghiberti, though Ghiberti later dropped out.

The Italian Renaissance was an explosion of the arts in Italy, not only in painting and architecture, but in sculpture as well. Over the span of about eighty years, sculpture became transcendent during this time. Sculpture style has evolved over the course of many years from something that was not just considered philosophical or just simply aesthetic, but to something that involves and combines both. One artist that started this shift was Michelangelo. Michelangelo created breathtaking statues, and because of his innovative thinking and style, he paved the way for other extraordinary and visionary artists like Bandinelli and

Bernini born was in Naples in 1598 and was turned on to art at an early age by his father. He grew up with influences such as Hellenistic nudes and Classicism, but his most important artistic factor was being in Rome during the Baroque movement (Dexter 1). Bernini took a different and fitting approach to sculpting David. It was Bernini’s first major work, which he completed at the age of only twenty-one over a period of only seven months. Shakard writes, “[Bernini] depicted David as an artist (of war), using his hands as the means of his art (1). The work depicts him with his slingshot cocked back, his armor on the ground behind him because of it’s weight and his harp shrouded at his feet. Through this Bernini conveys David’s smaller stature and that his life is not one of a warrior. He wants to strike Goliath from afar. David’s face vividly

Indeed, it is not possible to imagine someone could compete with Gianlorenzo Bernini in feeling of the Baroque style in sculpture. Thus, the most prominent works of the artist, known for