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| Winter, 1620. By Gian Lorenzo and Pietro Bernini. In white marble. The statue is a collaboration between father and son. It shows the skills that Bernini is learning, such as the fleece and fames. |
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| Bernini Faun teased by children 1615, made in marble. It marks when bernini surpasses his father. Bernini's statue is a snapshot of a moment and is more complicated than his father's similar work. |
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Aeneas, Anchises and Ascanius by Gian Lorenzo Bernini. 1618-19. Marble
This is a depiction of the three ages of man, he uses the backs and skin to show their age and uses the surface of the marble to show details of age like wrinkles and muscles and veins. He uses a column between them to support the statue. |
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Bernini, Santa Bibiana, Marble, 1624. Bibiana is sculpted to look beyond us and Bernini sculpted her expression in transition in the moments preceding martyrdom. He uses her drapery to show a message instead of show the body and uses an indent in the face to portray mobile expression.
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| Pluto and Proserpina by Gian Lorenzo Bernini. 1621-22. White marble. Depicts Pluto capturing Proserpina just as he's about to take her down to the underworld with him Bernini shows stone as skin here, showing Hades' fingers sinking into Persephone's skin. It was done for Borghese |
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| Apollo and Daphne. by Bernini , 1622-26. Carrara marble. Portrays the myth of Apollo and Daphne and the statue shows movement, like a snapshot of the story just as the nymph is turning into a tree. |
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David by Bernini, 1623-24, white marble.
Commissioned by the Vatican by Borghese. The statue is a snapshot of david attacking Goliath. He added a brow furl like Michelangelo's David as a kind of challenge. |
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Truth unveiled by time, Gian Lorenzo Bernini. 1645-52
White marble. The statue is unfinished because it was started when Bernini was fired by the pope and left unfinished when the pope recommissioned him. It depicts the body of truth which is shadowed by the stone overhanging above her but her body has a bright shine to it and is meant to catch the light and be brightened. This was meant to be the expression of truth being unveiled by history. |
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Sacred and Profane Love, by Titian, 1514, Oil on canvas.
This piece shows a development in oil panting, which wasn't done often then. Profane love is shown as impermanent, dressed as a woman on her wedding day, with flowers to show the impermanence. Sacred love holds the eternal flame and is surrounded by a never ending landscape. They are both the same woman, showing that both go together. |
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| Madonna dei palafrenieri by Caravaggio, 1605, oil on canvas. This piece shows the virgin mary and Saint Anne and Jesus as realistic and not romanticized. He shows mary helping Jesus smash the serpant to show that piety begins in the home. |
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| Pietà by Michelangelo 1498-1500, marble. This is the work that made the david possible because it was the work that got Michelangelo noticed. Mary is a living shroud for Jesus and details that show he is dead are shown in the limpness of his shoulder, his swollen veins, Michelangelo portrays the body of a god and a dead man in one. His weight is shown in a way that looks like he is about to slip off of Mary's lap and onto the altar below, participating in the mass. Because we take of Jesus's body for communion. |
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| The Baldacchino, Bernini, 1624, Bronze and partly guilt, Saint Peter's Basilica, Vatican. The work is as tall as a three story building, it took ten years to build and it stands on slender columns for visibility, so that everyone can see the altar. It is modeled after 1700 year old Constantine columns which alludes back to the original structure over Peter's tomb. It's bronze tassels are wafting in the wind to portray the holy spirit and it is covered in bumblebees because that is the symbol of the pope that commissioned it, Barbarini |
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The Throne of Saint Peter, Bernini, 1657-66. Marble , bronze, white and golden stucco, San Pietro, Rome.
Here Bernini is depicting the holy spirit and he does so by depicting an experience. He shows the holy spirit bursting in and uses all the arts to make the walls seem like they are dissolving while the throne floats in mid air. |
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| Saint Longinus, Bernini, 1628-1630, marble. His drapery shows his excitement of being able to see the spirit of being able to see the divine. Bernini portrays the moment of Longinus being able to see as the blood and water of christ hit his face and he sees the son of god. |
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| St. Andrew, Francesco Duquesnoy 1628-1630, marble. He is in the same position as Longinus but more relaxed, his robes show the shape of his body but don't convey the excitement that Bernini's Longuinus show. Bernini's drapery shows the divine excitement. |
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| Monument to Alexander VII Chigi, 1671-1678, marble, Bronze, Jasper, stucco. Its a funerary monument that defines the end of one's life , the art of dying well. A good death is seen as going to heaven, lighter colors portray heaven above where the pope is praying and below there are darker colors portraying life's distractions. The stone at the bottom is red to portray a theater curtain, implying that all the world is a stage and death is coming up from beneath it to remind the viewer that no one knows when they will die and you have limited time. On the sides are the virtues in between heaven and the distractions of life. |
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