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The Ecstasy of Saint Teresa (also known as Saint Teresa in Ecstasy; Italian: L'Estasi di Santa Teresa or Santa Teresa in estasi) is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome. [1]
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The work Éctasis de Santa Teresa is oil on canvas, 29.5 x37 x 5.5 inches here Maldonado depicts a version of Bernini’s sculpture, Ecstasy of Saint Teresa, she paints only her head to emphasize her expression. Along with the framed depiction of Theresa’s head and face Maldonado also illustrated male torsos in the same classical fashion.
Saint Teresa was the inspiration for one of Bernini's most famous sculptures, The Ecstasy of St. Teresa (mid-17th century) in Santa Maria della Vittoria, Rome. [85] [web 20] St. Teresa was painted in 1819–20 by François Gérard, a French neoclassical painter. [web 21]
MacKenzie Art Gallery, Saskatchewan v. The Tribute Money: 1742 San Diego Museum of Art, California, USA w. Rest in Flight to Egypt: Accademia, Venice x. The Daughter of Jephthah: Louvre, Paris y. The walk to Mount Calvary: Louvre, Paris z. Deposition from the Cross: aa. Ecstasy of St Theresa: 1745 bb. Agony of Christ in the Garden
Bernini's 1644 work The Ecstasy of St. Theresa shows the moment at which the holy spirit pierces Theresa's heart, leaving her in what can only be described as ecstasy of divine presence. It is a dramatic, poignant scene captured by Bernini at the moment of greatest impact.
This painting is now in the Diocesan Museum of Cortona. [3] [as of?] Lanfranco in his design appears to show the influence of Caravaggio's oil painting depicting St Francis in Ecstasy (1596). In turn, this painting may have influenced the design of the statuary group (1645-1662) depicting the Ecstasy of St Theresa by Gian Lorenzo Bernini. [4]
Bernini's Ecstasy of Saint Theresa in the Cornaro family chapel in the church of Santa Maria della Vittoria, Rome. The House of Cornaro or Corner were a Venetian patrician family in the Republic of Venice and included many Doges and other high officials. The name Corner, originally from the Venetian dialect, was adopted in the eighteenth century.
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