Bernini and Boromini

In the fifteenth-century, the evolution of patronage begin, since power, and money influenced the creation of great artworks. One hand it flourished the Italian architectural collections other hand, notable designers as Brunelleschi, and Donatello designed and experimented with their creations. For example, Brunelleschi creation for the Medici family, which known as the Dome of Florence Cathedral (Fig 12-12). As it has been mentioned in the book he was the founder of the dome and it was one of the Gothic inspired and cost effective creation from that time period. Artist Donatello also made a contribution in the art world in a fascinating way since his work was inspired by as it has been mentioned in the book by the classical forms which

In this essay, the difference between Northern Baroque and Italian Baroque styles of painting, the differences between a male and a female interpretation, the narrative differences, and the psychological dilemmas they present to the viewer will be discussed.

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).

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

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.

The Italian and Northern Renaissance share a few common things in terms of their artwork. However, they also have many differences. I will be focusing on the differences between these two renaissances. Some of the differences include the main forms of medium that they used, their subject matter, and what each era was known for. I will be talking about these three differences, and will also provide examples.

Baroque and High Renaissance are two very important periods in art history, during that time a lot of different forms of art were created which include architecture, painting, and music. Baroque is just another word for having flashy symmetrical decoration. It’s a style that started around the 1600s in Italy and with its popularity it quickly spread around Europe. High Renaissance artist displaces the importance of draftsmanship, structured, and often-centralized compositions. Many artists quickly rise to stardom during these eras. This paper compares and contrasts these two art periods with the works created by great artists such as Marcantonio Franceschini who lived during the Baroque period and Mariotto Albertinelli who lived during the High Renaissance period.

The rectangular pattern of the tiles in back of the Italian Renaissance painting underlines the geometric arrangement of the figures in the foreground and the background. All of the images of the people look carefully 'placed' by the artist. Not only was interest in classical era sculpture and architecture revived during the Renaissance in Italy, but also interest in math and science, and the near-mathematical precision of the painting reflects this fact.

Baroque is a style of art that was influenced by the papacy in Rome, with sculptor and architect Gianlorenzo Bernini behind the rise of the popular period of the style. The view of the Baroque style has changed over time, but during the seventeenth century it was considered as having a dramatic and theatrical essence. Gianlorenzo Bernini was a prodigal architect and sculptor by whom the Roman papacy employed for their empire. He is considered one of the greatest sculptors in the seventeenth century as his many masterpieces have artistically influenced an entire age of an empire. Gianlorenzo Bernini captured the characteristics of the Baroque in his art as he achieved theatrical effects by bringing together various media.

The transverse oval design of Gian Lorenzo Bernini's glorious Jesuit novitiate church of Sant'Andrea al Quirinale in Rome is a mar vel of Baroque art and architecture. Ever since Rudolf Wittkower called our attention to Bernini's unique centralized oval space with its dominant psychological and spiri tual focus on the shorter axis from entrance to the main altar recess, its longer transverse axis blocked by pilasters at either end,1 scholars have searched for Bernini's source. For the most part, they agree that Sebastiano Serlio's method for constructing an oval, il lustrated in Tutte I'opere d'architettura et prospetiva, was Bernini's likely point of de parture.2 What has not been noticed, how ever, and remains to be elaborated is the remarkable

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

Gian Lorenzo Bernini and Francesco Borromini spent their professional lives locked in a complex rivalry that spans the duration of the seventeenth century. The profound differences between the lives and personalities of these two, reflected in work still evident in Rome today, have been a hotbed for debate and praise. Always a competition, Bernini and Borromini have produced some of the most beautiful staples in Roman architecture, sculpture and space. The stark contrast in fundamental design principle, shown most prominently in the sites of Borromini’s San Carlo alle Quattro Fontane, and

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.