Gian Loreno Bernini was born in Naples in 1598, the son of Pietro Bernini, a Tuscan sculptor. He came to Rome in 1606 when his father was summoned by Pope Paul V. Bernini worked alongside his father on two major projects:
1. The Pauline Chapel in the Basilica of Santa Maria Maggiore (1605-11);
2. The Barberini Chapel in the church of Sant'Andrea ddella Valle (1604-18).
Goat Amalthea
Bernini was an enfant prodige. His Goat Amalthea dates to before 1615, possibly even 1609.
Portrait of Pope Paul V
The exquisite detail on this bust of Pope Paul V, c1617, gives this portrait an incredibly life-like feel.
Aeneas, Anchises and Ascanius Fleeing Troy
In 1618 Cardinal Scipione Borghese, nephew of Paul V, commissioned Bernini to carry out three large sculpture groups for his personal villa. The first group was Aeneas, Anchises and Ascanius Fleeing Troy. Bernini depicts Aeneas carrying his father on his shoulders and his son, Ascanius, by the hand.
Pluto and Persephone
This sculpture undertaken between 1621 and 1622 sees Bernini continuing to develop a baroque style. This sculpture depicting an ancient story demonstrates unusually dynamic and intense drama; Persephone's fearful and shocked gaze, shown with a tear rolling sadly down her cheek, reveals a new type of emotion.
David
The David carried out for Cardinal Peretti Montalto in 1623-24 demonstrates a further development in Bernini's style. In addition to the representation of movement, naturalist handling and expressive emotions characterizing his previous work, Bernini now introduces two new elements to his arrangement of the figure; the invasion of the observer's space and a single dominant viewpoint. Unlike previous depictions of David, Bernini decided to show David in action as he prepares to release the slingshot at Goliath. David is grimacing with the tension and effort and the torso is twisted.
Apollo and Daphne
With the Apollo and Daphne. 1622-25, statue Bernini uses cold, hard, white marble to tell the story of Apollo who pursues Daphne who transforms into a laurel tree to escape from his unwanted attentions. Bernini depicts the exact moment of metamorphosis, an emotional crescendo at the height of the drama.
Portrait of Urban VIII
Carried out 1637-38
Portrait of Cardinal Richelieu
Completed 1640-41.
Portrait of Cardinal Scipione Borghese
Bernini made two versions of the bust of Scipione Borghese executed in 1632. Just as the first version was nearing completion Bernini discovered a flaw running across the cardinal's forehead that transformed his features. Not in the least discouraged, Bernini bought another block of marble and carved the second version in just fifteen days so as not to disappoint the cardinal who could not wait to see the finished article.
Portrait of Costanza Bonarelli
Bernini worked on this bust between 1636-38. The unbridled sensuality of this portrait epitomises his ability to capture the intimate expression of his sitters. Costanza Bonarelli was the wife of one of Bernini's collaborators.
It was at this point in the exhibition I lost interest in Bernini. When Bernini discovered Costanza was also having an affair with his younger brother, Luigi Bernini he was so outraged he savagely beat his brother and then arranged for a servant to slash his mistress's face. Not a very nice man :-(.
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