Delivered at the turn of the twentieth century, Riegl's groundbreaking lectures called for the Baroque period to be judged by its own rules and not merely as a period of decline.
Examines seventeenth-century sculpture in Rome. Focuses on questions of historical context and criticism, including the interaction of theory and practice, the creative roles of sculptors and patrons, the relationship of sculpture to antique models and to contemporary painting, and contextual meaning and reception.
Draws on contemporary biographies and a wealth of hitherto unpublished archival material to illuminate the position and practice of the Baroque sculptor, to enable the reader to appreciate, understand and evaluate the sculptural monuments of the Roman Baroque.
At first a successful painter of the Roman Baroque, Pietro (Berrettini) da Cortona (1597-1669) soon emerged as an architect of equal stature. This book is the first to focus full attention on Cortona's buildings and projects and to assess his position in Roman Baroque architecture. The book discusses Cortona's major commissions, particularly SS. Luca e Martina, the Villa del Pigneto, S. Maria della Pace, and S. Maria in Via Lata, as well as the designs that remained unbuilt, such as his plans for the Palazzo Pitti in Florence and the Louvre in Paris. Cortona's great decorative cycles, including Palazzo Barberini, the Chiesa Nuova, and others are also considered as part of his stunning vocabulary of architectural decoration. The book explores Cortona's relationships and rivalries with other outstanding Roman architects to illuminate the competitive climate in which he worked, and it concludes with a review of his influence and reputation into the twentieth century.
Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet—surprisingly—there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture showcases portrait sculptures from all phases of the artist’s long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works. Bernini’s portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini’s ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi. Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.
Reconsidering the terminology art historians use to describe 17th-century Roman sculpture, this history examines how famous artists, such as Bernini, Alessandro Algardi, François Duquesnoy, and lesser-known artists influenced one another during this period. Artistic events and completed works are presented in chronological order with an emphasis on the workshop relationships that allowed accomplished sculptors to apprentice younger artists. The use of Venetian-derived color, sublime accents, and travertine and marble that marked this era created a thoroughly modern Rome as statues and other examples of sculpture were placed in gardens, homes, and churches.
The Baroque palaces of seventeenth-century Rome were centers for much of the artistic and cultural activities of the city. This book presents some of the magnificent furnishings from these palaces and explains what they reveal of the social life and art patronage of the major families of the Eternal City during this period. This book is the catalogue for an exhibition at the Bard Graduate Center for Studies in the Decorative Arts from March 10 through June 13, the show then travels to the Nelson-Arkins Museum in Kansas City, where it will appear from July 25 through October 3, 1999.