The first Baroque art began as part of the Catholic Church's Counter Reformation, in response to the Protestant Reformation, which had begun to draw worshippers away from their previous devotion to the traditions of the Catholic faith. Church officials believed they could win people back with stunning examples of art, sculpture and architecture that went beyond anything they had seen before. It was hoped the people would come back to the church after being won over by the new emphasis on realism that exemplified the Baroque style.
In the world of sculpture, artists sought to instill their creations with the illusion of reality. Their carvings became more elaborate than ever, and they used lighting and perspective in ways meant to maximize the effect of their sculptures on observers - making them feel a part of the art rather than merely bystanders.
No one personified the Baroque Age more than Gianlorenzo Bernini. Born in Italy in 1598, this gifted artist crafted his first sculpture at the age of 17 - or perhaps even younger - and continued to sculpt magnificent works of art until his death in 1680. His final sculpture - a figure of Christ - was completed at the age of 81. A devout Catholic, he shared the vision of reaching out to those who had wandered away from the church. He poured his heart and soul into his creations, and his acclaim as a genius appears justified by the results he achieved.
Self-Portrait of Gianlorenzo Bernini - circa 1623.
A perfect example of his talent, and which captures the essence of the Baroque style, is Bernini's David. Commissioned in 1623 by his principle patron, Cardinal Scipione Borghese, Bernini completed the sculpture in just seven months - finishing it when he was only 24 years old. The life-sized sculpture stands five feet, seven inches tall and is sculpted entirely out of marble. Upon completion, David was displayed in the Galleria Borghese, where it still resides today.
Bernini's David
Bernini captured David at the critical moment in his conflict with Goliath. The stone has been set in its sling, and David's body is tensed and ready to do battle. His gaze is clearly fixed upon his antagonist, whose presence, while not part of the sculpture, is nonetheless intensely felt by observers. As opposed to the static poses carved by Michelangelo and Verrochio, who portrayed David before and after the fight with Goliath, respectively, Bernini has captured the moment of conflict itself.
David is one of my favorite sculptures from this brilliant artist. I am in awe of the quality of workmanship and how lifelike David appears. The sculpture comes alive with an emotion and power that is truly amazing. I especially appreciate the look on David's face - it conveys the determination of a man not only ready to take on a formidable opponent, but also prepared to stand against an enemy who dared to defy "the armies of the living God" (Holy Bible, 1 Samuel 17:36).
The look of determination on David's face
Another unforgettable example of Bernini's ability is The Rape of Proserpina. This large marble sculpture was commissioned by Cardinal Borghese in 1621 - when Bernini was just 23 - the same year Bernini was knighted by Pope Gregory XV. Shortly after its completion, the sculpture was given to Cardinal Ludovisi. In 1908 it was purchased by the state of Italy and returned to the Galleria Borghese.
Bernini's The Rape of Proserpina
The sculpture denotes a time in Greek mythology when Pluto, the god of the underworld, kidnaps (a more accurate term than "rapes") the goddess Persephone (known in Roman mythology as Proserpina). Bernini captures the moment Pluto has picked her up, ready to carry her off to her destiny. There is a look of terror on her face, while Pluto seems amused at her hopeless struggles.
Pluto pressing his fingers into Proserpina's flesh
The main reason The Rape of Proserpina is one of my favorite Bernini sculptures is how real the scene appears, and the senses of motion and emotion that are portrayed. Pluto is positioned accurately, as if he is really supporting Proserpina's weight. Proserpina's terror is real, and there even appear to be tears dripping down her face. But the most amazing aspect of the sculpture is the way Pluto's fingers press into Proserpina's flesh as he prepares to abduct her. To have achieved this level of realism from a block of marble is truly a testament to Bernini's remarkable skill.
Below is a quick video showing alternating views of Bernini's David, The Rape of Proserpina, and Apollo and Daphne.
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