Gianlorenzo Bernini

Gianlorenzo Bernini is considered one of the greatest artists of the 17th century. Skilled at architecture and painting, Bernini’s biggest influence and impact on other artists and the Baroque style would be his sculpture. His style is Baroque, a free, exuberant style of architecture and other art forms that replaced the restrained and balanced style of the earlier Renaissance. The Baroque style was dramatic, grandiose and ornate. Its motifs and forms express conflict and energy. Bernini was born December 7, 1598 in Naples and died in Rome on November 28, 1680 (Giovanni 1). He is often considered the father of the Baroque style “Bernini created a fusion of architecture, painting, and sculpture that led to the generation of new, dynamic forms. His works used the drama of false perspective and tromp-l’oeil to create an impact that involved the spectator. He also created a much copied palace faced type which he articulated with massive pilasters above a rusticated base” (Bernini 1).

Bernini came from a line of architects and sculptors. As a young man he began his career working as the student of his father, a sculptor names Pietro Bernini. Eventually, the young Bernini’s work was significant enough to attract the attention and patronage of Cardinal Maffeo Barberini. He designed a palace for Barberini whom, when he eventually became

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ues used by Bernini would have a great impact on the Baroque artists of the period, techniques that more resemble stage illusion than architecture. Bernini’s stairway is replete with sculptures of angels trumpeting and the papal arms adorning the entrance. The rest is pure illusion borne of architectural necessity: By gradually reducing the distance between columns and walls as the stairway ascends, Bernini actually eliminates the aisles on the upper levels, while creating an illusion of uniformity of width and continuity of aisle for the whole stairway. At the same time, the space between the colonnades also narrows with ascent, reinforcing the natural perspective and making the stairs appear to be longer than they actually are. To minimize this effect, Bernini made the lighting at the top of the stairs brighter, exploiting the natural human inclination to move from darkness toward light. (De la Croix et al. 715) In sculpture, Bernini’s impact on the Baroque and other artists is not less significant than his architectural designs. As with his architecture, he was often commissioned by the Church to sculpt. Cardinal Patriarch Federico Cornaro commissioned the artists to complete what would become considered his master
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