Taking up questions of artists' materials and technical processes currently at the vanguard of art-historical scholarship, this book studies the contiguity and interchange of workshop methods in the linked fabrication of both ephemeral and preparatory works by Bernini.
Taking up questions of artists' materials and technical processes currently at the vanguard of art-historical scholarship, this book studies the contiguity and interchange of workshop methods in the linked fabrication of both ephemeral and preparatory works by Bernini.
Genevieve Warwick is a Professor of the History of Art at the University of Edinburgh, UK.
Inhaltsangabe
Part I 1. Introduction: Between Sculpture and Ephemera 2. Bernini's Portraiture: Materialities of Likeness 3. Daphne's Cry: Quisquis amans sequitur Part II 4. Piazza Navona: The Baroque Scenographic Square 5. Sun and Clouds: Bernini and France, 1640 6. Bernini's 'Two Theatres': I due covielli, 1637 & 1638 Part III 7. Clay Angels: Materials of Glory 8. Baroque Folds: The Practice of Theory 9. Conclusion: Bernini 'Barocco'
Part I 1. Introduction: Between Sculpture and Ephemera 2. Bernini's Portraiture: Materialities of Likeness 3. Daphne's Cry: Quisquis amans sequitur Part II 4. Piazza Navona: The Baroque Scenographic Square 5. Sun and Clouds: Bernini and France, 1640 6. Bernini's 'Two Theatres': I due covielli, 1637 & 1638 Part III 7. Clay Angels: Materials of Glory 8. Baroque Folds: The Practice of Theory 9. Conclusion: Bernini 'Barocco'
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