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bernini simon schama

Category: Business Paper Type: Homework Reference: APA Words: 1500

“The Power of Art: Bernini”

Intro:
At first glance, how does Bernini’s sculptural style correspond to the terms we used to describe Baroque music?

Baroque, the term, has been derived from the Portuguese word barroco, which means oddly shaped pearl. The western music of 1600-1750 was distinctive and had different characteristics than traditional normative music. In the same sense, work of Bernini was evidently different or untraditional from the classical work, and for that reason, it has characteristic correspondence, similarity or connection with Baroque music.

David:
How does Bernini’s David differ from the David by Michelangelo?

Michael Angelo was classical sculptural, whose artwork was distinctive but followed the classical patterns and norms of sculpturing. Michael Angelo’s marvel, David, was huge, in which immense material was used and it was based on the notions of sculpturing that corresponds to laws of gravity. That is why Michael Angelo’s David looks very static or immobile. In contrast, Bernini’s scriptures were more human than immortal and they twisted and bent, unlike classical sculptures. Bernini’s sculpture, David, was more mobile and humans, which gave it distinction from classical sculptures. In the nutshell, classical sculptures were based on laws of gravity, but Bernini’s sculptures seem to defy them.

St. Lawrence:

Is Bernini depicting a story at its conclusion or in the midst of its action? How can we tell?
Bernini was an unorthodox sculptural, who defied conventional or, classical or orthodox norms of sculpturing. Orthodox sculptures were not only rigid, immense and took lot of material, but also, they represented a conclusion of an action, but not an action itself. To make sculptures more real or mortal, Bernini emphasized on actions rather than conclusion of actions. For instance, the sculpture of Scipione Borghese and Apollo and Daphne represent action, rather than conclusion of an action. This provided unique characteristic to the sculptures, made by Bernini, and distanced them from the classical sculptures.

Bernini and Scipione Borghese:

Scipione Borghese was Bernini’s first important patron. How does Bernini make the portrait of his patron naturalistic?

Bernini made sure that sculpture, of Scipione Borghese, did not look mortal but rather human and very flashy. For that purpose, he focused on the action rather than a conclusion of a action. In the sculpture, of Scipione Borghese, the fleshy cheeks Scipione Borghese were appear to be in motion and his lips open, as if her were about to say something. Buttons, of his robe, were pressing out and one the button was slipping out of hole. This minor details form mesmerizing effect and viewer assumes that sculpture is alive and in motion or action.

Apollo and Daphne:

How does Bernini make it clear that we’re seeing action (story in the midst of its telling)?
According to the legend, Apollo, driven by lust, chased Daphne, who in desperation ran and prayed to her gods. At the very climax, when Apollo had almost grabbed her, gods answered her prayer and turned her in a tree. This action, Apollo grabbing her and Daphne turning into tree, was depicted by the sculpture, made by Bernini.

Baldacchino at St. Peter’s:

Why did Bernini seek out Borromini’s help for the Baldacchino? How do we know about Borromini’s role?

St. Peter’s Baldacchino was a pure architectural work, which Bernini got because of his strong social connections; his friendship with Pope Urban VIII. However, to complete work, he required assistance from a true architect, who has prior experience, skills, expertise, information, knowledge and sense of art. For that purpose, Bernini had to seek help of Borromini, as he had such prior experience and he performed such tasks. Borromini helped him with the design; he did maths for architect and helped Bernini raise a structure, which had roots in art.

Costanza:
How did Bernini innovate the form of portrait sculpture with this work?

Bernini’s sculptures not only just defined and depicted actions but also showed passion and human beauty. To make apparent, action and passion from a sculpture, he introduced many techniques and methods. His sculptures appear to be human and fleshy, as he made sure that human body muscles were to be shown as natural as they could be, in his sculptures. In the case of Costanza’s sculpture, her breast, her lips, her cheeks were made that way that they depicted movement of human muscles.

Urban VIII’s death:

How did Bernini’s patronage situation change when Pope Urban VIII died?

Pope Urban VIII was not just the admirer of Bernini’s but was also his good friend and benefactor. Bernini exploited Pope Urban VIII well to acquire not only lucrative and significant projects, but also for his social issues, challenges and matters. After his death he lost most his contracts, as new Pope had his own favorites, which included Borromini, Bernini’s rival and professional enemy. The real watershed was the deterioration of South tower, which had been founded on sloppy grounds.

Cornaro Chapel and St. Teresa in Ecstasy:

Who is St. Teresa, and what story is told by this sculpture?

St. Teresa was Spanish catholic nun, who claimed that angels visited her regularly and when they visited, her body exercised unexplainable pleasure, amalgamated with pain, passion, pleasure and spirituality. When she used to go through such experience, her body used to levitate from the ground. Reputed Cornaro family, commissioned Bernini sculpture of St. Teresa. As per information, Bernini had about St. Teresa, he made a sculpture, which depicted her experience, but in more passionate and sexual way.

What does Simon Schama mean when he says that Bernini turned the body of Teresa inside out?
The sculpture of St. Teresa represents her feelings, her emotions and her spiritual-sexual experience. Because of her sanctity or sacredness, Bernini was restricted to be more explicit in his art. Therefore, the cloak, of St. Teresa, was shown as molten lava, which represents extreme passion and love. So when Simon Schema was Bernini turned the body of St. Teresa inside out, he means, had been going inside Teresa was being revealed by her cloak, her garment, her facial expressions.
What setting does Bernini create for this sculpture? What are the other components of the chapel?
Bernini made the sculptures of Cornaro family, where two of the family members were looking at the sculpture of St. Teresa and angel, while the rest of the members of family were chatting about the event and seemed to try to understand the whole event. In addition, the sculpture of Teresa was bounded within the pillars, very similar to the pillars, which was Bernini commissioned to make, by the Pope. Colors and glass was also used by Bernini to make his art more spectacular, mesmerizing and dominating.

Assignment on: “The Power of Art: Bernini” Submitted by: XXX Date: “The Power of Art: Bernini” Intro:At first glance, how does Bernini’s sculptural style correspond to the terms we used to describe Baroque music? Baroque, the term, has been derived from the Portuguese word barroco, which means oddly shaped pearl. The western music of 1600-1750 was distinctive and had different characteristics than traditional normative music. In the same sense, work of Bernini was evidently different or untraditional from the classical work, and for that reason, it has characteristic correspondence, similarity or connection with Baroque music. David:How does Bernini’s David differ from the David by Michelangelo? Michael Angelo was classical sculptural, whose artwork was distinctive but followed the classical patterns and norms of sculpturing. Michael Angelo’s marvel, David, was huge, in which immense material was used and it was based on the notions of sculpturing that corresponds to laws of gravity. That is why Michael Angelo’s David looks very static or immobile. In contrast, Bernini’s scriptures were more human than immortal and they twisted and bent, unlike classical sculptures. Bernini’s sculpture, David, was more mobile and humans, which gave it distinction from classical sculptures. In the nutshell, classical sculptures were based on laws of gravity, but Bernini’s sculptures seem to defy them. St. Lawrence: Is Bernini depicting a story at its conclusion or in the midst of its action? How can we tell?Bernini was an unorthodox sculptural, who defied conventional or, classical or orthodox norms of sculpturing. Orthodox sculptures were not only rigid, immense and took lot of material, but also, they represented a conclusion of an action, but not an action itself. To make sculptures more real or mortal, Bernini emphasized on actions rather than conclusion of actions. For instance, the sculpture of Scipione Borghese and Apollo and Daphne represent action, rather than conclusion of an action. This provided unique characteristic to the sculptures, made by Bernini, and distanced them from the classical sculptures. Bernini and Scipione Borghese: Scipione Borghese was Bernini’s first important patron. How does Bernini make the portrait of his patron naturalistic? Bernini made sure that sculpture, of Scipione Borghese, did not look mortal but rather human and very flashy. For that purpose, he focused on the action rather than a conclusion of a action. In the sculpture, of Scipione Borghese, the fleshy cheeks Scipione Borghese were appear to be in motion and his lips open, as if her were about to say something. Buttons, of his robe, were pressing out and one the button was slipping out of hole. This minor details form mesmerizing effect and viewer assumes that sculpture is alive and in motion or action. Apollo and Daphne: How does Bernini make it clear that we’re seeing action (story in the midst of its telling)?According to the legend, Apollo, driven by lust, chased Daphne, who in desperation ran and prayed to her gods. At the very climax, when Apollo had almost grabbed her, gods answered her prayer and turned her in a tree. This action, Apollo grabbing her and Daphne turning into tree, was depicted by the sculpture, made by Bernini. Baldacchino at St. Peter’s: Why did Bernini seek out Borromini’s help for the Baldacchino? How do we know about Borromini’s role? St. Peter’s Baldacchino was a pure architectural work, which Bernini got because of his strong social connections; his friendship with Pope Urban VIII. However, to complete work, he required assistance from a true architect, who has prior experience, skills, expertise, information, knowledge and sense of art. For that purpose, Bernini had to seek help of Borromini, as he had such prior experience and he performed such tasks. Borromini helped him with the design; he did maths for architect and helped Bernini raise a structure, which had roots in art. Costanza:How did Bernini innovate the form of portrait sculpture with this work? Bernini’s sculptures not only just defined and depicted actions but also showed passion and human beauty. To make apparent, action and passion from a sculpture, he introduced many techniques and methods. His sculptures appear to be human and fleshy, as he made sure that human body muscles were to be shown as natural as they could be, in his sculptures. In the case of Costanza’s sculpture, her breast, her lips, her cheeks were made that way that they depicted movement of human muscles. Urban VIII’s death: How did Bernini’s patronage situation change when Pope Urban VIII died? Pope Urban VIII was not just the admirer of Bernini’s but was also his good friend and benefactor. Bernini exploited Pope Urban VIII well to acquire not only lucrative and significant projects, but also for his social issues, challenges and matters. After his death he lost most his contracts, as new Pope had his own favorites, which included Borromini, Bernini’s rival and professional enemy. The real watershed was the deterioration of South tower, which had been founded on sloppy grounds. Cornaro Chapel and St. Teresa in Ecstasy: Who is St. Teresa, and what story is told by this sculpture? St. Teresa was Spanish catholic nun, who claimed that angels visited her regularly and when they visited, her body exercised unexplainable pleasure, amalgamated with pain, passion, pleasure and spirituality. When she used to go through such experience, her body used to levitate from the ground. Reputed Cornaro family, commissioned Bernini sculpture of St. Teresa. As per information, Bernini had about St. Teresa, he made a sculpture, which depicted her experience, but in more passionate and sexual way. What does Simon Schama mean when he says that Bernini turned the body of Teresa inside out?The sculpture of St. Teresa represents her feelings, her emotions and her spiritual-sexual experience. Because of her sanctity or sacredness, Bernini was restricted to be more explicit in his art. Therefore, the cloak, of St. Teresa, was shown as molten lava, which represents extreme passion and love. So when Simon Schema was Bernini turned the body of St. Teresa inside out, he means, had been going inside Teresa was being revealed by her cloak, her garment, her facial expressions. What setting does Bernini create for this sculpture? What are the other components of the chapel?Bernini made the sculptures of Cornaro family, where two of the family members were looking at the sculpture of St. Teresa and angel, while the rest of the members of family were chatting about the event and seemed to try to understand the whole event. In addition, the sculpture of Teresa was bounded within the pillars, very similar to the pillars, which was Bernini commissioned to make, by the Pope. Colors and glass was also used by Bernini to make his art more spectacular, mesmerizing and dominating. What did this film teach you about visual art in Baroque Italy? What did it add to your understanding of that time period? Knowledge, pertaining to art, developed and refined during the time of renaissance, started to evolve during that time. Great artists, such as Bernini, Borromini used their skills and knowledge to develop new spectaculars. The art of that time was distinctively different from the classical art, which emerged during the renaissance. It primary focus of was on the incident or actions, rather than on the conclusion of action. That is why David of Bernini looks more mobile, mortal and real than the David, of great Michael Angelo.

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