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Baroque Midterm

1. Bernini was an Italian architect and sculptor who lived 1598-1680. During the reign of Urban VIII Bernini created several large-scale commissions around St. Peter's Basilica. His plan of the square and colonnades in front of the basilica was an amazing architectural achievement. Bernini was a man of intense faith, and the supreme artist during the Catholic Counter-Reformation (Read, p. 42-43).He was selected as Vatican architect in 1629. In 1642, he began working on the ornamentation of the funerary chapel of Cardinal Federigo Cornaro in the Church of Santa Maria della Vittoria. The Ecstasy of Saint Teresa (1645-52) is a masterful religious sculpture, and is a skillful example of Bernini's use of various materials (Read, p.43). The sculpture represents a vision in which an angel pierces Saint Teresa of Avila's body with an arrow many times. The piercing sends Teresa into religious state of ecstasy. The angel and Teresa are depicted floating upon clouds. Bernini illustrates the emotions and movements of the figures as well as creating different colors and textures in the white marble. He carved the marble of Saint Teresa's habit into a thick material, but still manages to show he


The painting has recently been restored which revealed a natural golden light and intense colors of blue, green, brown, red, and in the center yellow. He hoped to advance the canonization of Lodovica, which would advance his own status in the church (Minor, p. Caravaggio's first public commission was the Calling of Saint Matthew (1599-1600). The gilded rays guide the viewer's eye down to Teresa's body. The religious paintings were occasionally unaccepted because of their "brutal naturalism" (Stokstad 774). The light highlights individual faces while it contrasts with the deep shadows. Light falls evenly through the rays to illuminate the scene. There are many baroque characteristics in Versailles. Most of his paintings after 1600 were religious. The gazes create a direct line to her burning chest. Throughout her life, Lodovica, burned with a divine love of her faith and charity, which is expressed by her hand clenching her chest (Minor, p. The decoration of the interior set a new measure of splendor. The space is clearly defined by the placement of the sculpture, which creates a stage for Lodovica to be set. It was created for the Contarelli Chapel in the Church of San Luigi dei Francesi.

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