Bernini scultore: il difficile dialogo con la modernità

Uittreksel

"Bernini the corrupter of art, Bernini the pretentious, Bernini painter and tyrant, Bernini the über-naturalist or the complete opposite, Bernini the Mannerist, the Bernini of Apollo and Daphne and David. And lastly Bernini, the master of Baroque art. This volume takes a completely new look at the ebb and flow of Bernini's reputation and influence among artists, authors and critics in the nineteenth and twentieth centuries. A rich feast of illustrations highlighting the ambiguous image of Bernini the sculptor in modern art history, an intriguing mirror image that defines modern sculpting practices, from technique to theory. A rich feast of illustrations highlighting the ambiguous image of Bernini the sculptor in modern art history, an intriguing mirror image that defines modern sculpting practices, from technique to theory. The book is divided into three chapters; the first deals with 18th-century opinions on the sculptor, opinions consolidated in the 19th century which, in certain cases, influenced the vernacular of artistic critique and the development of new theoretical approaches to sculpture. The second chapter focuses on Bernini's "naturalism," on the fine line he walked between the sacred and the profane, between German Kunstwissenschaft and French sculpting tradition. Rome is the real protagonist of the third chapter from the 19th century to the advent of Fascism: striving to identify a new hero of a united Italy in Bernini, in his relationship with the city and the curiosity of modern artists. Written with a healthy dose of irony vis-à-vis the contradictions of history, the elusive rhetoric and the evolution of taste, this essay serves as a privileged and innovative point of view, to encourage reflection on a great artist's life and the historical complexity of his image."

Inhoud

Introduzione -- Smorfie, scogli e miniature : appunti lessicali e contrappunti visivi tra Sette e Ottocento -- I. Il Mausoleo Ganganelli -- II. Smorfie, scogli e arrabbiamenti (prima parte) -- III. Bernini tiranno e pittorico -- IV. Smorfie, scogli e arrabbiamenti (seconda parte) -- Sacro e profano. Luoghi, materie, generi berniniani di secondo Ottocento -- I. Irremovibile: la condanna di San Pietro e la nascita del Barocco in Europa -- II. Superfici berniniane, tra dato di natura e dato d ’arte -- Roma, l ’Italia e la “brezza barocca” : da D’Annunzio a Boccioni -- I. Bernini urbano -- II. Le celebrazioni per il terzo centenario della nascita (1898-1899) -- III. Bernini impressionista.