For the uninitiated, “baroque” refers to the art period following the Renaissance. After the Protestant Reformation, Catholics at the Council of Trent decided what art would be. The art that followed is the Baroque. As far as sculptors go, there are two in particular that you need to know: Gian Lorenzo Bernini and Franceso Borromini. Whether your newfound tidbits are for an impending trip to Italy or simply to seem extra cultured at work parties, we’ve got you covered.
Gian Lorenzo Bernini grew up studying and helping his father, fellow sculptor Pietro Bernini. He spent most of his youth on jobs with his father. After collaborating with Pietro on pieces such as the Boy with a Dragon, the young Gian began turning heads of his own.
Scipione Borghese was the affluent cardinal nephew to Pope Paul V. He was one of the most influential patrons of art of the time. (Have you ever heard of the Borghese Gallery? It is his villa that he curated and filled with art on his own. Talk about an art fan!) Borghese commissioned Bernini when he was only 21 years old, and his life changed forever.
In the next five years, Bernini created some of the most incredible sculptures of all time: Aeneus, Anchises, and Ascanius, The Rape of Persephone, Apollo and Daphne, and David. You can find all of these in the Borghese Gallery today. This kicked off his long and illustrious career making Baroque masterpiece after Baroque masterpiece.
What sets this genius apart from others of his time is his grand theatrics. He appreciated contrasting emotions, sweeping movements, and bel composto, or tying the architecture and the art together into one cohesive piece.
Take his Ecstasy of Saint Teresa or even the St. Peter’s Baldachin in St. Peter’s Basilica. Bernini was the social butterfly of the Baroque period, and beloved by many. It isn’t hard to wonder why! These pieces alone show off his knack for breathtaking, iconic work.
On the other side of the spectrum was a younger stonemason turned sculptor-architect extraordinaire. Francesco Borromini was much quieter than Bernini, and preferred to work alone. The two foils worked together on St. Peter’s Basilica.
Unlike Bernini, Borromini’s real genius is shown best in his precise architectural works. Borromini was extremely sharp, and his stone masonry background came in handy with that. Where Bernini preferred emotional appeal and focused on “artistic” qualities, Borromini homed in on the technical side of things.
Take his genius layout for the church San Carlo alle Quattro Fontane. With precise geometry and innovation, Borromini departed from the traditional Renaissance look and revolutionized the way churches are built in the Baroque period. He merged the mathematical with the symbolic. The results are unique architectural myriads unlike anything else in Rome.
No Borromini work is like the last one. Take San Carlo alle Quattro Fontane and compare its starkness to the illustriousness of Sant’Andrea delle Fratte. He enjoyed mixing elements from the Medieval, Gothic, Renaissance, and Baroque periods to create something entirely new. His works were largely commissioned by Pope Innocent X Pamphili from a young age.
Both of these geniuses had large, fruitful careers that echo still today. When in Rome… Make sure you take advantage of seeing the bulk of these men’s works. It will make for an unforgettable trip that leaves you thinking: How could someone possibly MAKE that?
Kwa wale wasiojua, "baroque" hurejezea kipindi cha sanaa kilichofuata Enzi ya Renaissance. Baada ya Marekebisho Makubwa ya Kidini ya Kiprotestanti, Wakatoliki waliamua katika Baraza la Trent sanaa ingekuwa nini. Sanaa iliyofuata ni ya Baroque. Kwa mfano, kuna mchongaji wa zamani wa Italia, Gian Lorenzo Bernini na Francesco Borromini. Kama tidbits yako mpya ni kwa ajili ya safari inakaribia Italia au tu kuonekana ziada ya kitamaduni katika vyama kazi, sisi got wewe kufunikwa. Gian Lorenzo Bernini alikulia akisoma na kumsaidia baba yake, mchongaji mwenzake Pietro Bernini. Alitumia muda mwingi wa ujana wake akifanya kazi pamoja na baba yake. Baada ya kushirikiana na Pietro kwenye vipande kama vile Mvulana na Dragon, Gian mchanga alianza kugeuza vichwa vyake mwenyewe. Scipione Borghese alikuwa mjukuu wa Papa Paulo V, ambaye alikuwa msaidizi mashuhuri wa sanaa. (Je, umewahi kusikia juu ya Borghese Gallery? Ni nyumba yake ya kifahari ambayo aliifanyia kazi na kuijaza sanaa peke yake. Kuzungumza juu ya shabiki wa sanaa!) Bernini aliwahi kupewa kazi hiyo akiwa na umri wa miaka 21 na maisha yake yalibadilika kabisa. Katika miaka mitano iliyofuata, Bernini aliunda baadhi ya sanamu za ajabu zaidi za wakati wote: Aeneas, Anchises, na Ascanius, The Rape of Persephone, Apollo na Daphne, na David. Unaweza kupata hizi zote katika Jumba la Maonyesho la Borghese leo. Hii ilianzisha kazi yake ndefu na mashuhuri ya kutengeneza kazi kuu za Baroque baada ya kazi kuu za Baroque. Jambo linalomtofautisha mtu huyo mwenye kipawa na wengine wa wakati wake ni uigizaji wake mkubwa. Alithamini hisia zinazotofautiana, harakati zenye kuenea, na bel composto, au kuunganisha usanifu-ujenzi na sanaa pamoja katika kipande kimoja chenye kuunganisha. Chukua Ecstasy yake ya Mtakatifu Teresa au hata St. Peter's Baldachin katika St. Peter's Basilica. Bernini alikuwa kiumbe mashuhuri wa kipindi cha Baroque, na alipendwa na wengi. Si vigumu kujiuliza ni kwa nini! Vipande hivi peke yake huonyesha ustadi wake wa kufanya kazi zenye kuvutia na zenye kutokeza. Upande ule mwingine wa wigo huo ulikuwa na mchongaji wa mawe mchanga aliyegeuka kuwa mchongaji-mjenzi wa ajabu. Francesco Borromini alikuwa mtulivu zaidi kuliko Bernini, na alipendelea kufanya kazi peke yake. Vipande hivyo viwili vilifanya kazi pamoja kwenye Kanisa Kuu la Mtakatifu Petro. Tofauti na Bernini, kipaji halisi cha Borromini huonyeshwa vizuri zaidi katika kazi zake za usanifu-ujenzi. Borromini alikuwa mwenye busara sana, na ujuzi wake wa ujenzi wa mawe ulimsaidia sana. Ambapo Bernini alipendelea rufaa ya kihisia-moyo na kuzingatia sifa za "sanaa", Borromini alijiingiza katika upande wa kiufundi wa mambo. Chukua mpangilio wake wa kipaji kwa ajili ya kanisa San Carlo alle Quattro Fontane. Kwa jiometri sahihi na uvumbuzi, Borromini aliondoka kwenye muonekano wa jadi wa Renaissance na kulibadili njia ambayo makanisa yanajengwa katika kipindi cha Baroque. Alijiunga na hisabati na ishara. Matokeo ni maumbo mengi ya kihistoria yasiyo na kifani yasiyofanana na mengine yoyote huko Roma. Hakuna kazi ya Borromini kama ile ya mwisho. Chukua San Carlo alle Quattro Fontane na kulinganisha ukali wake na umaarufu wa Sant'Andrea delle Fratte. Alifurahia kuchanganya mambo ya enzi za Enzi za Kati, Gothic, Renaissance, na Baroque ili kuunda kitu kipya kabisa. Kazi zake zilitolewa kwa amri ya Papa Innocent X Pamphili tangu utotoni. Wote wawili walikuwa na kazi-maisha yenye matokeo ambayo bado inasikika leo. Unapokuwa Roma... hakikisha unatumia fursa hiyo kuona kazi nyingi za wanaume hawa. Itakuwa safari isiyosahaulika ambayo itakufanya ufikiri: Ni jinsi gani mtu aweza kufanya hivyo?