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The effects are theatrical, [7] the Cornaro family seeming to observe the scene from their boxes, [8] and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. [9]
The Cornaro Chapel is a private chapel commissioned by Federico Cornaro to Baroque sculptor Gian Lorenzo Bernini. Bernini lost papal patronage following the death of Pope Urban VIII and his replacement by Pope Innocent X, who disliked his artistic style, which enabled his commissioning by private patrons at this accomplished stage in his career ...
On either side of the chapel the artist places (in what can only strike the viewer as theatre boxes), portraits in relief of various members of the Cornaro family—the Venetian family memorialized in the chapel, including Cardinal Federico Cornaro who commissioned the chapel from Bernini—who are in animated conversation among themselves ...
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.
According to Filippo Baldinucci, even before Pietro Bernini moved his family from Naples to Rome, eight-year-old Gian Lorenzo created a "small marble head of a child that was the marvel of everyone". [4] Throughout his teenage years, he produced numerous images containing putti, chubby male children usually nude and sometimes winged.
Vatican police arrested a former employee for allegedly trying to sell to the city-state a 17th-century manuscript by Italian Baroque master Gian Lorenzo Bernini that had previously disappeared ...
Bernini combined painting, sculpture and architecture into a synthesis to create visually the idea of the apotheosis of St Andrew in this spiritual theater. He used a similar synthesis of artistic modes in his design of the Ecstasy of Saint Theresa in the Cornaro Chapel of Santa Maria della Vittoria. This synthesis has been referred to as the ...
The dominant figure in Baroque sculpture was Gian Lorenzo Bernini (1598–1680). He was the son of a Florentine sculptor, Pietro Bernini, who had been called to Rome by Pope Paul V. The young Bernini made his first solo works at the age of fifteen, and in 1618–25 received a major commission for statues for the villa of Cardinal Scipion Borghese.