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The Bust of Francesco Barberini is a marble sculpture by the Italian artist Gian Lorenzo Bernini, now in the National Gallery of Art in Washington, D.C. It was executed in 1623. It was commissioned by Pope Urban VIII, who was a nephew of Francesco Barberini, an apostolic protonotary. Francesco had died in 1600, so Bernini created the bust from ...
Not all viewers have found the Faun so indecorous: the Barberini Faun was reproduced on a Nymphenburg porcelain service in the 1830s. The statue was housed in the Palazzo Barberini, Rome, until it was sold in 1799 to the sculptor and restorer Vincenzo Pacetti; Pacetti offered it to various English and French clients, including Lucien Bonaparte.
Memorial to Carlo Barberini: Santa Maria in Ara Coeli, Rome 1630 Sculpture Marble 26 [32] Statue of Carlo Barberini: Palazzo dei Conservatori, Rome 1630 Sculpture Marble Life-size 27 [33] Self-Portrait as a Mature Man (Bernini) [Wikidata] Uffizi, Florence 1630–1635 Painting Oil on canvas 62 cm × 46 cm (24.4 in × 18.1 in) NA [34] Saint Longinus
The Statue of Carlo Barberini was a large statue of the brother of Pope Urban VIII, Carlo Barberini, erected in the Palazzo dei Conservatori, Rome, following his death in 1630. The statue made use of an existing antique statue of Julius Caesar .
The Memorial to Carlo Barberini is a large memorial, featuring two allegorical statues and an inscription. It was designed by the Italian artist Gian Lorenzo Bernini upon the death of Carlo in 1630, and subsequently executed by Bernini and his workshop.
Togatus Barberini is a Roman marble sculpture from around the first-century AD [1] that depicts a full-body figure, referred to as a togatus, holding the heads of deceased ancestors in either hand. [2] It is housed in the Centrale Montemartini in Rome, Italy (formerly in the Capitoline Museums). [1]
Bronze panel bearing an imitation of the central panel of the Barberini ivory (Byzantine and Christian Museum of Athens). The existence of these equestrian statues of Justinian at Constantinople suggests that the central theme of the Barberini ivory reprises a lost type popularised by these statues, rather than that it created a new type.
The Palazzo Barberini was designed for Pope Urban VIII, a member of the Barberini family, by the sixteenth-century architect Carlo Maderno on the old location of Villa Sforza. Its central salon ceiling was decorated by Pietro da Cortona with the visual panegyric of the Allegory of Divine Providence and Barberini Power . [ 3 ]