Discovering the Artist

Gian Lorenzo Bernini

Observe the dynamic of the Golden Mean or the Golden Ratio as applied to the statue David by Bernini. The statue is divided into thirds and it stands in its own vortex of energy. All the motion and energy comes from the one dynamic point that it is at the end of the ratio.

One day many of you will travel to Rome, Italy. You find the work of Bernini everywhere, from fountain sculptures everywhere to the deign of buildings. His fingerprints are all over the city. As we study Bernini we want to search for clues as to how he saw life through his art. What can we walk away with after learning about this man? What is the takeaway?

Gian Lorenzo Bernini, (1598 – 1680) was an Italian sculptor and architect. While a major figure in the world of architecture, he was, also and even more prominently, the leading sculptor of his age, credited with creating the Baroque style of sculpture. As one scholar has commented, "What Shakespeare is to drama, Bernini may be to sculpture: the first pan-European sculptor whose name is instantaneously identifiable with a particular manner and vision, and whose influence was inordinately powerful...."In addition, he was a painter (mostly small canvases in oil) and a man of the theater: he wrote, directed and acted in plays (mostly Carnival satires), for which he designed stage sets and theatrical machinery. He produced designs as well for a wide variety of decorative art objects including lamps, tables, mirrors, and even coaches. 

As architect and city planner, he designed secular buildings, churches, chapels, and public squares, as well as massive works combining both architecture and sculpture, especially elaborate public fountains and funerary monuments and a whole series of temporary structures (in stucco and wood) for funerals and festivals. His broad technical versatility, boundless compositional inventiveness and sheer skill in manipulating marble ensured that he would be considered a worthy successor of Michelangelo, far outshining other sculptors of his generation. His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual whole has been termed by the late art historian Irving Lavin the "unity of the visual arts".

Gian Lorenzo 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’”.

It is a view repeated by other scholars, such as Howard Hibbard who proclaimed that, in all of the seventeenth century, "there were no sculptors or architects comparable to Bernini". 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." Moreover, Bernini possessed the ability to depict highly dramatic narratives with characters showing intense psychological states, but also to organize large-scale sculptural works that convey a magnificent grandeur.