Gianlorenzo Bernini. Gian Lorenzo Bernini 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 and a man of the theater: he wrote, directed and acted in plays, 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 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 wo
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 and a man of the theater: he wrote, directed and acted in plays, 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 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 wo
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