Last edited by Phaidon Press
03.08.2021 | History

1 edition of Italian High Renaissance and Baroque sculpture found in the catalog.

Italian High Renaissance and Baroque sculpture

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        StatementPhaidon Press
        PublishersPhaidon Press
        Classifications
        LC Classifications1963
        The Physical Object
        Paginationxvi, 71 p. :
        Number of Pages79
        ID Numbers
        ISBN 10nodata
        Series
        1nodata
        2
        3

        nodata File Size: 9MB.


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Bernini's various works spread his reputation throughout Europe. To further embellish the zone of the crossing, Bernini organized the placing of four large statues in niches set into the four giant columns, one of which Longinus, 1629-38 he sculpted himself.

Italian High Renaissance and Baroque sculpture (1963 edition)

Many new photographs have been obtained, and duotone printing has been used to achieve the highest possible quality of reproduction. The most important is that, apart from Michelangelo and Bernini, no artist is treated as a whole personality. We must note two inconsistencies: Catalogue, p. He was an authority on Renaissance art, and his publications included Paolo Uccello 1950Fra Angelico 1952The Portrait in the Renaissance 1967Raphael 1970Luca della Robbia 1980Cellini 1985 and Donatello Sculptor 1993.

Bernini developed the style in four later statues: Habakkuk and Daniel 1655-61; S. This too might have had an aesthetic purpose, if Michelangelo was planning to create an emotional contrast-the greater length of the figures on the Lorenzo tomb helping to compensate for their less aggressive poses and physiques.

Carracci reveals his debt to Michelangelo and the of antiquity in his figures, but they are modelled with a greater attention to colour and texture, while his use of painted caryatids and pictures-within-pictures legitimized Bernini's experiments with illusion.

This gave Bernini the time to produce his greatest masterpiece - the decoration of the Cornaro Chapel, S. With 168 plates and 178 text illustrations.

With the Italian High Renaissance and Baroque sculpture the boundary between sculpture and architecture in Bernini's work becomes indeterminate, and later even painting was incorporated into Bernini's conception, In the words of his contemporary Baldinucci, it was "common knowledge that he was the first who undertook to unite architecture, sculpture and painting in such a way that they together make a beautiful whole".

To compare modern with sixteenth century writers is indeed a sobering experience.