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Gian Lorenzo Bernini ((:ˈdʒan loˈrɛntso berˈniːni); also Gianlorenzo or Giovanni Lorenzo; 7 December 1598 – 28 November 1680) was an Italian sculptor and architect. A major figure in the world of architecture, he was the leading sculptor of his age, credited with creating the Baroque style of sculpture. As one scholar has commented, 'What Shakespeare is to drama, Bernini may be to sculpture: the first pan-European sculptor whose name is instantaneously identifiable with a particular manner and vision, and whose influence was inordinately powerful...'〔Katherine Eustace, Editorial, 'Sculpture Journal,' vol. 20, n. 2, 2011, p. 109.〕 In addition, he was a painter (mostly small canvases in oil) and a man of the theater: he wrote, directed and acted in plays (mostly Carnival satires), also designing stage sets and theatrical machinery, as well as a wide variety of decorative art objects including lamps, tables, mirrors, and even coaches. As architect and city planner, he designed both secular buildings and churches and chapels, as well as massive works combining both architecture and sculpture, especially elaborate public fountains and funerary monuments and a whole series of temporary structures (in stucco and wood) for funerals and festivals. Bernini possessed the ability to depict dramatic narratives with characters showing intense psychological states, but also to organize large-scale sculptural works which convey a magnificent grandeur.〔Wittkower, p. 13〕 His skill in manipulating marble ensured that he would be considered a worthy successor of Michelangelo, far outshining other sculptors of his generation, including his rival, Alessandro Algardi. His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual whole has been termed by the art historian Irving Lavin the "unity of the visual arts". A deeply religious man,〔For a more nuanced, cautious discussion of the traditional hagiographic view of Bernini as "fervent Catholic" and of his art as simply a direct manifestation of his personal faith, see Mormando, "Bernini's Religion: Myth and Reality," pp. 60–66 of the Introduction to his critical, annotated edition, ''Domenico Bernini, The Life of Gian Lorenzo Bernini,'' University Park, Penn State U Press, 2011.See also the same author's article, 'Breaking Through the Bernini Myth' in the online journal, ''Berfrois'', October 11, 2012: ()〕 working in Counter Reformation Rome, Bernini used light as an important metaphorical device in his religious settings, often using hidden light sources that could intensify the focus of religious worship〔 Hibbard's classic book on Bernini, though still a valuable resource, has never been updated since its original publication in 1965 and the author's premature death; a vast amount of new information about Bernini has surfaced since then. It also accepts too readily the whitewashed, hagiographic depictions of Bernini, his patrons, and of Baroque Rome as supplied by the first, official biographies by Baldinucci and Domenico Bernini.〕 or enhance the dramatic moment of a sculptural narrative. Bernini was also a leading figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect Francesco Borromini and the painter and architect Pietro da Cortona. Early in their careers they had all worked at the same time at the Palazzo Barberini, initially under Carlo Maderno and, following his death, under Bernini. Later on, however, they were in competition for commissions, and fierce rivalries developed, particularly between Bernini and Borromini.〔 The rivalry between Borromini and Bernini, though very much real, tends to be over-dramatized in popular works like that of Morrissey and in self-published non-scholarly works like that of Mileti. For a more careful, considered summary by a Bernini scholar, see Franco Mormando, ''Bernini: His Life and His Rome,'' Chicago: University of Chicago Press, 2011, pp. 80-83.〕 Despite the arguably greater architectural inventiveness of Borromini and Cortona, Bernini's artistic pre-eminence, particularly during the reigns of popes Urban VIII (1623–44) and Alexander VII (1655–65), meant he was able to secure the most important commissions in the Rome of his day, the various massive embellishment projects of the newly finished St. Peter's Basilica, completed under Pope Paul V with the addition of Maderno's nave and facade and finally re-consecrated by Pope Urban VIII on November 18, 1626, after 150 years of planning and building. Bernini's design of the Piazza San Pietro in front of the Basilica is one of his most innovative and successful architectural designs. Within the basilica he is also responsible for the Baldacchino, the decoration of the four piers under the cupola, the Cathedra Petri (Throne of St. Peter) in the apse, the chapel of the Blessed Sacrament in the right nave, and the decoration (floor, walls and arches) of the new nave. During his long career, Bernini received numerous important commissions, many of which were associated with the papacy. At an early age, he came to the attention of the papal nephew, Cardinal Scipione Borghese, and in 1621, at the age of only twenty-three, he was knighted by Pope Gregory XV. Following his accession to the papacy, Urban VIII is reported to have said, "It is a great fortune for you, O Cavaliere, to see Cardinal Maffeo Barberini made pope, but our fortune is even greater to have Cavalier Bernini alive in our pontificate."〔Franco Mormando, ed. and trans., Domenico Bernini, ''Life of Gian Lorenzo Bernini,'' University Park, Penn State Univ. Press, 2011., p. 111.〕 Although he did not fare so well during the reign of Innocent X, under Alexander VII, he once again regained pre-eminent artistic domination and continued to be held in high regard by Clement IX. Bernini and other artists fell from favor in later neoclassical criticism of the Baroque. It is only from the late nineteenth century that art historical scholarship, in seeking an understanding of artistic output in the cultural context in which it was produced, has come to recognise Bernini's achievements and restore his artistic reputation. The art historian Howard Hibbard concludes that, during the seventeenth century, "there were no sculptors or architects comparable to Bernini".〔Hibbard, p. 21〕 ==Personal life== Bernini was born in Naples in 1598 to an Angelica Galante, a Neapolitan, and Mannerist sculptor, Pietro Bernini, originally from Florence. He was the sixth of their thirteen children.〔(Gallery.ca )〕〔Gale, Thomson. ''Gian Lorenzo Bernini'' ''Encyclopedia of World Biography,'' 2004. For list of Bernini's siblings, see Franco Mormando, ''Bernini: His Life and His Rome'' (Chicago: University of Chicago Press, 2011), pp. 2–3.〕 Bernini would not marry until May 1639, at age forty-one, when he wed a twenty-two-year-old Roman woman, Caterina Tezio, in an arranged marriage. She bore him eleven children including youngest son Domenico Bernini, who became his first biographer.〔For Bernini's marriage to Caterina, and a list of Bernini's children, see Franco Mormando, ''Bernini: His Life and His Rome'' University of Chicago Press, 2011, pp. 109–16.〕 In 1606, at the age of eight, he accompanied his father to Rome, where Pietro was involved in several high profile projects.〔(Gian lorenzo Bernini )〕 There, as a boy, Gian Lorenzo's skill was soon noticed by the painter Annibale Carracci and by Pope Paul V, and he soon gained the important patronage of Cardinal Scipione Borghese, the papal nephew. His first works were inspired by antique classical sculpture. In the late 1630s he engaged in an affair with a married woman named Costanza (wife of his workshop assistant, Matteo Bonucelli, also called Bonarelli) and sculpted a bust of her (now in the Bargello, Florence) during the height of their romance. She later had an affair with his younger brother, who was Bernini's right-hand man in his studio. When Gian Lorenzo found out about Costanza and his brother, in a fit of mad fury, he chased his brother Luigi through the streets of Rome, intent on murdering him. To punish his unfaithful mistress, Bernini had a servant go to the house of Costanza to slash her face several times with a razor. The servant was later jailed, and Costanza was jailed for adultery.〔For this episode in Bernini's life, see Franco Mormando, ''Bernini: His Life and HIs Rome,'' Chicago: University of Chicago Press, 2011, pp. 99-106.〕 Bernini died in Rome in 1680, and was buried in the Bernini's family vault, along with his parents, in the Basilica di Santa Maria Maggiore. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Gian Lorenzo Bernini」の詳細全文を読む スポンサード リンク
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