Bernini

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Synonyms for Bernini

Italian sculptor and architect of the baroque period in Italy

References in periodicals archive ?
Collectively, these essays suggest that the Bernini family, and specifically Gianlorenzo himself, were engaged during the last decade of the artist's life in a project of encomiastic (auto)biography that sought to rehabilitate a reputation in crisis in the years following Bernini's unsuccessful trip to France.
Gianlorenzo Bernini redesigned this during the 1600's in the form of an amphitheatre facing the new imperial dais, the raised pediment of the basilica, at the summit of which stands the risen Christ with the banner of his triumph, the cross which has been transformed into a trophy.
Camera (Technicolor), Gianlorenzo Battaglia; editor, Luca Montanari; production designer, Stilde Ambruzzi; costume designer, Valentina Di Palma.
Included are sculptures, tapestries, scientific instruments, maps, armor, books, and paintings by artists such as El Greco, Hieronymus Bosch, Tiziano Vecellio (aka Titian), Gianlorenzo Bernini, Diego Velazquez, and Francisco de Goya.
Sculpture: Ecstasy of Saint Teresa, by Gianlorenzo Bernini (c.
Del mismo modo el celebre grupo escultorico El extasis de Santa Teresa (1645-52), de Gianlorenzo Bernini (1598-1680), en la Capilla Cornaro de la Iglesia Santa Maria della Vittoria, representa a la santa casi <<suspendida en el aire, y solo puede aparecer como realidad en virtud del implicito estado visionario de la mente del espectador>> (9).
Sobre todo, porque el autor de la obra, Gianlorenzo Bernini, tenia solo 19 anos de edad y ya superaba en destreza a su padre, Pietro Bernini, un prestigiado escultor encumbrado en el cenit de su carrera.
Falling somewhere between the sanctioned orgasmic vision of Gianlorenzo Bernini's The Ecstasy of St.
Among the artists that Challis Davy felt had to be included were the Italian master of Baroque sculpture, Gianlorenzo Bernini, whose extraordinary "Ecstasy of St.
Her chosen artist, moreover, is the major creative talent--in sculpture, architecture, and drawing, among other media--of Baroque Rome and its succession of papal patrons: Gianlorenzo Bernini (1598- 1680).
His book brought to bright life the great forces--noblemen, cardinals, ecclesiastics and the religious orders--who shaped the careers of such illustrious artists as Gianlorenzo Bernini and Pietro da Cortona.
Aquinas and Blondel are examples of this incarnational imagination in action; so are Gianlorenzo Bernini, Therese of Lisieux, Thomas Merton, and Mother Theresa--works created, lives led, interpretations made, actions performed in the inclusio between Christ's resurrection and ours, in the sacramental space between incarnation and eschatology.
His style has been compared to Gianlorenzo Bernini (1598-1620), the greatest Italian sculptor of his generation, the chosen one of Popes, famed for the baldacchino at St Peter's, Rome.
Bust of Charles I (17th century), after the portrait by Gianlorenzo Bernini, was previously the property of Warwick Castle, and is one of only three versions known to exist.
Suponia, ante todo, el punto algido de los ambiciosos programas imperialistas del papa Della Rovere, dando inicio a unas obras que, hasta la conclusion definitiva de basilica y plaza, no culmiran hasta muy entrado el siglo XVII con Gianlorenzo Bernini y su columnata de suprema agilidad escenografica; como arquitectos directos de la fabrica, han quedado indisolublemente unidos a ella, los nombres de Rafael, Antonio da Sangallo el Joven, Miguel Angel, Giacomo della Porta, Carlo Maderno y el citado Bernini.