Eine Brunnenskulptur von Gian Lorenzo Bernini?

1990 ◽  
Vol 29 ◽  
pp. 205
Author(s):  
Michael Knuth
Keyword(s):  
Gian Lorenzo Bernini

The conservation of a marble group of Neptune and Triton by Gian Lorenzo Bernini

1986 ◽  
Vol 31 (sup1) ◽  
pp. 22-26
Author(s):  
J.H. Larson
Keyword(s):  
Gian Lorenzo Bernini

The life of Gian Lorenzo Bernini

2011 ◽  
Vol 49 (04) ◽  
pp. 49-1873-49-1873
Keyword(s):  
Gian Lorenzo Bernini

Training a genius – portrait sculpture by Pietro and Gian Lorenzo Bernini

2011 ◽  
Vol 20 (2) ◽  
pp. 135-145 ◽  
Author(s):  
Hans-Ulrich Kessler
Keyword(s):  
Gian Lorenzo Bernini

Gian Lorenzo Bernini

1958 ◽  
Author(s):  
Melvin Waldfogel ◽  
Rudolf Wittkower
Keyword(s):  
Gian Lorenzo Bernini

Gian Lorenzo Bernini Architekt

1986 ◽  
Vol 49 (2) ◽  
pp. 248
Author(s):  
Klaus Guthlein ◽  
Franco Borsi ◽  
Julia Schlechta
Keyword(s):  
Gian Lorenzo Bernini

scholarly journals The Handprint, the Shower of Gold, and Thingness of Architecture

2019 ◽  
pp. 94-99
Author(s):  
Krunoslav Ivanišin
Keyword(s):  
Johann Wolfgang Von Goethe ◽  
Carrara Marble ◽  
Second Look ◽  
The World ◽  
Gian Lorenzo Bernini

To grasp a beautiful thing or some difficult idea — the language clearly pronounces the hand–to–reason connection. In the world of things, this connection manifests itself in a HANDPRINT that a humble craftsman leaves on a handy mud brick, or a great artist in a perfect block of Carrara marble. In transition from essence towards presence, they leave traces thus uncovering the thingness of things: their purpose, shape and matter. The mythical lord of shadows and everything in earth lurks from the interior of a cave and comes into the light only briefly, to abduct the beautiful Proserpina. His strong grasp leaves the shadow on her white flesh, made known by the hand of Gian Lorenzo Bernini. Taking a second look into whiteness through Sir Isaac Newton’s prism, Johann Wolfgang von Goethe found color exactly in this area of diffraction between shadow and light (cave and glade; twilight at dawn and morning shine). Hence, he grasped that color is produced from the light, as much as by the thing itself on which the light falls — a property of its material and a consequence of its shape.

“St. Joseph with the Child” by Gian Lorenzo Bernini: A definitive artwork or a preparatory drawing? A multidisciplinary study of the only autograph painting of the Artist, preserved at Palazzo Chigi of Ariccia (Rome)

2020 ◽  
Vol 46 ◽  
pp. 283-288
Author(s):  
Martina Romani ◽  
Lucilla Pronti ◽  
Marco Sbroscia ◽  
Francesco Petrucci ◽  
Ombretta Tarquini ◽  
...  
Keyword(s):  
Multidisciplinary Study ◽  
Gian Lorenzo Bernini

The Hewer Memorial at Clapham: A Reflection of Bernini

1974 ◽  
Vol 54 (2) ◽  
pp. 257-267
Author(s):  
R. J. Ninnis
Keyword(s):  
Original Work ◽  
Large Degree ◽  
Documentary Evidence ◽  
South West ◽  
Gian Lorenzo Bernini ◽  
Samuel Pepys

SummaryThis article draws attention to the presence in south-west London of what might be regarded as a monument by Gian Lorenzo Bernini. It is not from Bernini's hand and it is not quite a replica, but is an adaptation of the master's Raggi monument in Rome, and in a large degree preserves the High Baroque spirit of the original work. Although many examples of Bernini's influence can be found in the commemorative art of Britain in the late seventeenth and early eighteenth centuries, no other monument represents so faithfully the original Bernini design.The Hewer monument is not signed and, as yet, no documentary evidence can be produced to throw light on the means of inspiration for the English sculptor; it is, however, most likely to have been associated with John Jackson's purchases in Rome for the library of his uncle, Samuel Pepys.

Vita di Gian Lorenzo Bernini

Italica ◽  
1949 ◽  
Vol 26 (4) ◽  
pp. 302
Author(s):  
Carlo Cordie ◽  
Filippo Baldinucci
Keyword(s):  
Gian Lorenzo Bernini
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