TryShadowing
Shadow YouTube. Speak English.
Home
Browse
Dictation
NEW
My Library
en
0
days
Sign in
Great Art Explained: Bern… — Great Art Explained shadowing | TryShadowing
TryShadowing
Shadow YouTube. Speak English.
Home
Browse
Dictation
NEW
My Library
en
0
days
Sign in
Home
Browse
Great Art Explained
Great Art Explained: Bernini's Apollo and Daphne
Great Art Explained: Bernini's Apollo and Daphne
Great Art Explained
·
30:05 · Dec 1, 2023
Start Shadowing
0:00
0:00
Record
×1
1x
VI
EN
JA
KO
ZH
FR
PT
TH
IT
DE
IPA
Pronunciation scoring isn't supported on this browser — you can still record and listen back.
just
a
quick
reminder
Translating…
Turn on Record to capture your voice and get scored
Smart
Karaoke
Original
Line
1
/695
0:00
just a quick reminder
0:01
that my other channel great books explained
0:03
can be found in the link below
0:05
same concept as this channel
0:07
films that celebrate the Arts
0:08
using clear concise language
0:10
and no gimmicks Please Subscribe and press the notification
0:14
Bell thank you at the age of eight
0:23
Jan Lorenzo bini the child prodigy
0:26
was presented to the pope
0:27
who prophetically announced that the child would be the Michelangelo
0:31
of age Bernini would not only raise the sculpted
0:35
human figure to unseen levels of realism
0:38
but he would dominate the 17th
0:40
century like no other
0:42
as a painter an architect
0:44
as a playright and of course
0:47
as a sculptor and come to be seen
0:49
as the embodiment of the age of the
0:52
Barack he was also an arrogant
0:54
hot-tempered narcissistic man and unscrupulous
0:58
in his pursuit of personal
1:01
Glory he was in his early 20s
1:03
when he created this work
1:05
which tells the story of the terrified
1:07
nymph dhne who is pursued by the L struck
1:11
Apollo as he grabs her she cries out to the gods for help
1:15
and is transformed into a laurel
1:17
tree her limbs grow heavy
1:19
her arms become branches
1:21
her breast become solid
1:23
bark and as her fingertips
1:25
Sprout leaves her feet take root
1:28
and stop Apollo in his track
1:31
there is simply no question as to whether this is a masterpiece
1:35
there is however the question we do have to ask
1:38
what is the biggest Miracle
1:40
here the literal metamorphosis
1:42
of gods or the sculptor's
1:45
metamorphosis of solid marble into living flesh and
2:17
it's no wonder Jan Lorenzo
2:19
berini was arrogant and narcissistic
2:21
as from the second the infant could hold a pencil
2:24
he had been told that he was a genius
2:26
touched by God his father pet
2:30
from Florence was also a sculptor
2:32
who arrived in Rome with his family in the early 17th
2:35
century it was a city with a wealth of job opportunities
2:39
for artists popes and Cardinals
2:42
were building lavish churches
2:43
monuments and Villas and by the time Petro
2:47
arrived it was estimated
2:48
that of the 100,000
2:50
citizens of Rome 4,000
2:52
of them were artists
2:54
Rome was the place for a sculptor to find work
2:58
Petro himself was was a mediocre
3:00
sculptor but he had a secret
3:02
weapon Jan Lorenzo who was born
3:06
1598 who so astonished
3:08
Pope Paul V at the age of 8
3:10
with a stone head he had carved
3:12
and his drawing skills
3:14
that the pope told the young boy to take as much gold
3:17
as his little arms could carry
3:20
it was his first taste of financial
3:21
success and a preview of things to come
3:25
Bernini would work for eight popes and be paid an absolute
3:28
Fortune he would die at the age of 82
3:31
world famous honored wealthy
3:34
and yes still being compared
3:37
to mik Angelo the pope appointed
3:43
Cardinal MAFO barbarini to watch over the Boy Wonder
3:46
and arranged for his
3:48
education he received a classical training
3:51
studying and sketching the Greek and Roman masterpieces
3:54
in the Vatican Museums
3:56
while at the same time he helped his father with his commissions
4:00
then the roles reversed
4:01
and his father became his assistant
4:04
and helper while Jan lenzo
4:06
was just a teenager
4:08
Petro seemed happy enough
4:10
and reveled in his son's Fame and
4:12
reputation just as his own career
4:14
was coming to an
4:15
end one of Jan Lorenzo's
4:18
earliest sculptures is this one
4:20
carved at the age of just
4:22
12 and while still a teenager
4:25
he produced his first
4:27
Masterpiece it is the story of his namesake
4:30
San Lorenzo or St Lawrence
4:33
who was a Christian martyr
4:34
burned alive on a redh hot griddle
4:37
Michelangelo was bernini's hero
4:39
he read everything he could about him
4:41
studied his work intensely
4:43
and spoke openly about his desire
4:45
to be his equal
4:47
he was inspired by many of the Master's
4:49
works and it is said that he based his San lenzo
4:52
on the positioning of Michelangelo's
4:55
Pi but Bernini managed to do something
4:58
his hero never quite managed
5:00
to create realistic and believable
5:03
flesh out of marble
5:05
the Flames that burn San Lorenzo
5:07
are a real tour of force
5:09
hard enough to depict in paint
5:11
but to carve out of marble
5:13
impossible they all said
5:16
and yet bini's portrayal of Leaping Flames
5:18
is so realistic we can almost feel the heat
5:22
where we see the true Mastery of the young sculptor
5:25
is in what would become his trademark
5:28
textures in the case of San
5:30
Lorenzo flesh hair wood
5:34
metal and Flame the statue was bernini's
5:37
calling card it is as if the teenage boy
5:40
at the threshold of his career
5:42
is announcing to the world
5:44
that he has arrived
5:46
to get the Saints expression of being tortured
5:49
and yet undergoing some kind of spiritual
5:51
Epiphany at the same time
5:53
Jan Lorenzo was said to have placed his own leg
5:56
against a red hot brazer
5:58
and sketched his own pain
5:59
expression while looking in a mirror
6:02
he would do the same thing two years later for this statue
6:06
you could say that he was a method
6:08
sculptor Bernini was the talk of Rome
6:11
and all the great Cardinal
6:12
benefactors wanted him in their stable of artists
6:16
but that honor went to the incredibly
6:18
wealthy shipon boresi nephew
6:21
and close friend to Pope Paul the F
6:24
who grabbed the young genius
6:26
for his in 1607
6:31
shiponi boresi began construction
6:34
of a grand villa on the pinchan
6:36
hill then on the outskirts
6:37
of Rome this is the building
6:39
Apollo and Daphne was made for
6:41
and today the Villa Bazi
6:43
is a public museum
6:45
where we still find
6:46
Apollo and Daphne Bazi
6:49
wielded enormous power as the pope secretary
6:51
and effective head of the Vatican
6:53
government and he used the immense wealth that he acquired
6:57
not always legitimately to ass assemble
7:00
one of the largest and most impressive
7:01
art collections in Europe
7:03
with paintings by kajio
7:05
Raphael and Tian and works of ancient Roman art
7:10
and now bini would create four masterpieces
7:13
for him Bor gazi was an unsavory
7:16
character Filthy Rich and ruthless
7:18
in his pursuit of more wealth and power
7:20
it was a good match
7:22
benini himself was equally ruthless
7:24
and would step on anyone's toes to get to the top creating a string
7:28
of enemies later he would maim his mistress
7:32
and try to murder his own
7:34
brother but successive popes forgave him
7:37
because his talent was useful
7:39
for their own posterity
7:41
Bazi paid the sculptor
7:42
huge sums to work for him and that's all benini
7:45
cared about this bust of the Cardinal boresi
7:49
is just as revolutionary
7:51
as his other sculptures
7:52
in the boresi collection
7:54
it shows a real man rather than an idealized
7:57
one Bernini used all his sculpture natural tools
8:00
different sized chisels small drills
8:03
and rasps to create different textures
8:06
and make the Cardinal
8:07
come to life even polishing his cheeks and nose
8:11
to make it look like he is sweating
8:13
he also managed to capture the twinkle of the Cardinal's
8:16
eye by cutting deep into the iris
8:19
to create a shadow at just the right place to capture the
8:22
light the detail of the corpulent
8:25
Cardinal's button not quite making it through the button hole is the classic berini
8:30
touch it is the same attention to detail
8:33
that we will see with Apollo and Daphne
8:36
but before this between 1621
8:38
and 1625 the new boresi
8:41
sculptor began to create Innovative
8:43
pieces for the Cardinal
8:45
that would become touchstones
8:46
of the Barack style
8:48
Bazi commissioned four radical
8:50
and colossal marble statues
8:53
anus anas and ascanius
8:55
fleeing Troy David the rape of pany
8:59
and Apollo and Daphne
9:01
never had statues been so dramatic
9:03
so animated and so intensely
9:05
alive nobody had seen anything
9:08
quite like them before
9:10
and people came from all over Rome
9:13
to see what were then being called
9:15
Miracles these four masterpieces
9:18
would firmly establish Bernini
9:20
as Rome's greatest sculptor
9:22
while he was still in his mid
9:24
20s berini was the new
9:32
for a sculptor who is such a brilliant Storyteller
9:34
it comes as no surprise that berini
9:36
was deeply committed to the world of theater and illusion
9:40
putting on many Productions of his own
9:42
for patrons like the barbarini
9:44
family not just designing
9:46
sets as many artists
9:48
did but also producing
9:50
staging writing and even acting in plays
9:54
as well as inventing
9:55
ingenious Scenic effects the eternal city has become a sort of Venice and then
10:00
some in 1638 after the Tyber River flooded in Rome
10:05
Bernini staged his own celebrated
10:07
play called inundation of the Tyber
10:10
where boats floated across the stage on real water
10:13
until suddenly the embankments
10:15
on stage broke apart
10:18
and water spilled out towards the screaming
10:21
audience who were saved from a soaking
10:24
when a barrier Rose
10:26
just in time to stop it
10:28
he also stay Ed operas
10:30
which was a new art form at the time
10:32
and it is no coincidence
10:34
that one of the most flamboyant
10:35
theatrical art forms really came into its own during the
10:42
Barack in 1517 in Germany
10:45
Martin Luther condemned the excesses
10:47
and Corruption of the Roman Catholic church
10:50
and initiated the Protestant
10:52
Reformation that would sweep through Europe
10:55
and change the religious
10:56
political and artistic landscape
10:59
for all time from 1545
11:02
to 1563 meetings of Catholic clerics
11:05
called the Council of Trent
11:07
was convened with the primary purpose to condemn the growing beliefs of
11:12
Protestants the Protestant Church criticized
11:15
The Cult of images
11:16
but the Catholic Church
11:18
saw art as a powerful
11:19
propaganda tool and a means of stimulating
11:22
The public's faith in the church
11:24
drama intense realism movement
11:27
and color became the art artist tools
11:30
in the fight back for Catholic Souls
11:32
producing art that would instruct
11:35
and Inspire in 1597
11:38
Cardinal faresi commissioned Anibal
11:41
karachi's Great Masterpiece the ceiling
11:44
of The Palazo faresi
11:46
the most influential work of art in Rome
11:48
since that of the cinee
11:50
chapel we can now consider
11:52
karachi's Fresco cycle to be a turning
11:55
point in art a departure
11:57
from the classical ideals of the Rena Renaissance
11:59
embracing a more emotional
12:01
Dynamic and Theatrical approach to Art
12:04
which was to become a characteristic
12:06
of the barck period
12:08
the cealing imagery was a move away from 16th
12:11
century paintings like this
12:14
and an anticipation of the development
12:17
of the Barack in the 17th
12:19
century just 3 years away
12:22
it was an inspiration
12:23
for the next generation of artists
12:25
like benini the Barack took place in the 70s
12:29
and first half of the 18th
12:30
century it was a highly ornate
12:33
and elaborate style of architecture
12:35
Art and Design characterized
12:37
by a Grandeur drama
12:39
movement and emotional intensity
12:41
that set it apart from the more restrained
12:44
and balanced Aesthetics of the
12:46
Renaissance the Vatican used
12:48
art to counteract the perceived
12:50
austerity of protestant religious
12:52
spaces it became a powerful way of conveying
12:56
complex theological ideas through Vivid
12:59
and easily understandable visual
13:01
narratives if the Renaissance
13:03
was all about carefully balanced
13:05
proportions stable forms and control
13:08
solid shapes that anchor the work
13:10
Barack is known for drama
13:12
and movement for instability
13:15
and dynamism I would say the word theatrical
13:18
really sums it up
13:20
in Barack sculpture LED largely by the work of Jan Lorenzo
13:24
Bernini the figure took on new
13:26
importance always in perpet ual motion
13:30
he showed a dynamism
13:31
not seen before his figures
13:34
reached out into the viewer space
13:36
in a frozen moment in time
13:39
sometimes not more than a
13:41
nanc this extraordinary David
13:44
was the last in a series of commissions
13:46
by shipon boresi created
13:49
before Apollo and Daphne
13:50
but it is useful to look to David
13:53
when talking about the Barack
13:55
berin David was inspired
13:57
by this classical statue
13:58
owned by the Cardinal
14:00
but he was also inspired
14:01
by this image from the aforementioned
14:04
faresi ceiling karachi's portrayal
14:06
of the giant polyus
14:08
preparing to hurl a stone
14:10
to kill the youth
14:11
Aces we can compare these two famous Davids
14:14
to get an idea of the move from Renaissance
14:16
to Barack as I showed in my video
14:19
Michelangelo's David is preparing
14:22
himself for Action planning
14:24
and deliberating bernini's David
14:27
is in full swing
14:28
a Split Second away
14:30
from hurling the stone towards
14:32
us the viewer whereas Michelangelo's
14:35
David is the whole story
14:36
Bernini is a frozen
14:38
Split Second Michelangelo portrays
14:41
thought Bernini action they are both naturalistic
14:45
statues but whereas Michelangelo's
14:47
impassive and beautiful David
14:49
is Godlike and keeps us at a distance
14:52
bernini's hero involves us
14:54
penetrating our space with its intense
14:57
emotionalism its incred rible energy
14:59
as well as his actual
15:01
physical presence his lips are pursed
15:04
his eyes are on the prize
15:06
and his brow is furrowed
15:08
in fact the face of David is a self-portrait
15:11
of benini who supposedly
15:13
had his friend MAFO
15:14
barbarini later Pope Urban VII
15:17
hold a mirror as he sculpted
15:20
the expression of concentration
15:21
on bernini's Face the biting of the lip
15:25
could be a realistic
15:26
portrayal of the sculptor
15:28
chis away kiar skuro
15:31
the use of light and Shadow
15:33
comes into play here too
15:35
the Barack painter kajio
15:37
was the master of kiar scuro
15:39
and had painted David 20 years earlier
15:42
with the same shocking realism
15:44
the same dynamism and the same sense of
15:47
theater you can see that in the case of Michelangelo's
15:50
David it is evenly lit
15:53
relatively Shadow free and therefore
15:55
tone free but with berini
15:58
and the Barack in general
15:59
there is a greater contrast
16:01
between light and dark
16:03
Barack artists embraced kiar scuro
16:05
to create a sense of tension
16:07
and energy and berini
16:09
achieved this by Deep carving and undercutting
16:12
carving out different depths of
16:15
recesses this not only added to the dynamic quality of his sculptures
16:19
but also allowed for areas of deep Shadow
16:22
contributing to the Kiara skuro
16:24
effect he used new ideas
16:27
to make marble mut
16:28
so realistically that we believe
16:31
hair Flows In The Wind
16:32
and hard Stone really is the Flesh of gods
16:36
but Nini embodied the barock
16:38
not only with his Dynamic and exuberant
16:40
style but also his focus on emotional
16:43
expressionism it was a form of realism
16:46
that ushered in a new era
16:48
in sculpture the sculpture of Apollo and Daphne
16:56
was made between 1622
16:58
and 1625 and it captures a moment
17:01
from metamorphosis an alarming
17:04
depiction of unwanted desire
17:07
it depicts the mythological
17:09
story of Apollo the god of Arts
17:11
prophecy and music pursuing
17:13
Daphne a nymph associated
17:16
with nature in the myth
17:18
Apollo is struck by Cupid's arrow
17:20
causing him to fall in love with
17:22
dafne however Daphne who has been struck by an arrow of aversion
17:27
recoils from Apollo's advances
17:30
about to be caught by Apollo
17:32
Daphne cries out to her father a river god for help
17:36
change and destroy this body
17:38
which has given too much delight
17:41
screams berini captures the exact moment of transformation
17:46
as Daphne begins to turn into a laurel tree
17:49
to escape Apollo's advances
17:52
bernini's figures are engaged in a dramatic
17:54
chase at the precise
17:56
moment Apollo reaches out to grab Daphne
17:58
and wraps his hand around her torso
18:01
Daphne cries out to her father
18:03
and her body transforms
18:04
into twigs and leaves
18:06
her toes begin to sprout roots
18:08
and the bark Springs up from the Earth to protect her
18:12
much to the surprise of Apollo
18:14
it is a snapshot
18:15
a frozen moment at first glance
18:19
it seems there is body contact between the two figures
18:22
but actually they don't touch at all
18:25
flora and FAA has grown between them and bark leaves and twigs
18:30
grow up to preserve Daphne's
18:32
Purity Apollo's hand does appear to touch Daphne's
18:35
flesh but in fact touches bark
18:38
which has grown up to protect her body
18:40
and sheathe her modesty
18:43
it all happened so quickly
18:44
that as ID tells us in
18:46
Metamorphosis Apollo could feel Daphne's
18:49
heart still beating beneath the
18:52
bark before berini only painters had tackled this
18:56
story we know this sculptor looked to this statue in the Vatican collection
19:00
for inspiration for Apollo's
19:02
face and I'm sure the artist knew that his hero Michelangelo
19:07
had used the same inspiration
19:09
for his Christ in the cistin
19:11
chapel Bernini also knew of this Anonymous
19:14
engraving in the Vatican
19:16
collection a sculptural source
19:18
is this mannerist statue
19:20
which shows a different story from of its metamorphosis
19:23
on the same theme of a Pursuit
19:26
and transformation the expression on Apollo's
19:29
face is one of confusion
19:31
and amazement as if he has just realized
19:35
what is happening and that he will never
19:37
Daphne she too is beginning to realize the consequences
19:41
of her plea to the gods
19:43
and we can see the life
19:45
her Humanity being drained
19:47
out of her it is as if she is gasping
19:50
for what she knows
19:51
will be her last breath
19:53
before she becomes a laurel
19:55
tree but it is motion
19:57
which makes this statue so powerful
19:59
you can feel the thrust of the movement
20:02
through the figures and Apollo's
20:04
cloak which swirls around him in
20:06
midair heavy marble statues
20:09
need stability and support
20:11
and are designed carefully to be solid and
20:14
balanced but Bernini being Bernini
20:18
dangerously extends the male protagonist
20:20
leg outward and unsupported
20:22
in midair giving the statue a diagonal
20:25
thrust and an active motion
20:27
we would usually only find in paintings
20:30
it is a risky strategy
20:32
that paid off in the same way a painter uses color
20:36
berini uses textures to separate
20:39
components the skin is highly polished and smooth
20:42
to reflect light and give us realistic
20:44
flesh a contemporary discussed
20:47
how the figures look like they were perspiring
20:50
and if the light hits it right
20:52
they do which is achieved
20:54
through burnishing and polishing the marble
20:57
the hair of both both Apollo and Daphne
20:59
is left matte and unpolished
21:01
to contrast with their skin
21:04
Daphne's hair twist back into grooves
21:07
into which Bernini cut the occasional
21:09
contrasting Groove which catches the light
21:12
giving the illusion of highlights
21:14
suggesting she is blonde
21:17
Apollo's Hair by contrast
21:19
is a thick mop of curls
21:21
achieved by Deep skillful
21:22
drilling of recesses Apollo's
21:25
cloak is a complete contrast from his skin
21:28
it is smooth and the surface has been textured
21:31
to look like woven
21:32
cloth the Laurel leaves are waxy and smooth
21:36
just like the real thing
21:38
just look at them
21:40
it's hard to imagine
21:41
that these delicate paper thin leaves
21:44
are carved out of a brittle substance
21:46
like marble which so easily
21:48
could snap with just the pressure of a
21:51
finger the Highlight in their eyes is done with the most delicate of touches
21:56
the iris is left unpolished
21:59
but the pupil is burnished
22:00
smooth to capture light at the right
22:03
angle no one has carved marble
22:06
before in such a naturalistic
22:07
way as berini did
22:09
he didn't just create reality
22:11
he made it so
22:14
better berini was very conscious of us the viewer
22:17
and how we move around statuary
22:20
looking at it from different
22:22
perspectives it means that it seems to be in motion
22:25
as we encircle it a revelation
22:27
in the early 17th century
22:29
and even now is astonishing
22:31
he often placed his sculptures
22:33
in specific locations within architectural
22:36
settings that maximize the impact of natural or artificial
22:40
light this allowed light to fall on the sculptures
22:43
in a specific way
22:45
that enhanced their three-dimensional
22:47
qualities and emphasized light and Shadow
22:50
Kiara skuro the statue has remained in the same room in Villa boresi
22:55
since 1622 but but
22:58
was originally in a different position
23:01
instead of the center of the room where it is today
23:03
it was against the West Wall by the entrance
23:05
door and berini planned for it to be viewed from behind
23:09
and on the statue's
23:10
right side so that as you walked into the room
23:14
it was as if you were following
23:15
Apollo and saw the transformation
23:17
as it happened in real
23:19
time one experienced it in the same way Apollo did
23:23
and therefore understood The Narrative of the story
23:26
instantly without the need to move
23:29
position the left side of the statue was not meant to be so clearly
23:32
on display the way it is today
23:35
and that is more obvious when you compare the two
23:38
sides on the right side how berini
23:41
meant it to be viewed
23:42
the details appear to be impossibly
23:44
light and fragile whereas from the left side
23:47
neither face is visible from this perspective
23:49
nor is much of Daphne's
23:51
body berini has put all the mechanics
23:54
that hold the statue
23:55
together the carefully designed solid
23:57
interlinking forms that connect and support one another
24:01
on the left lesser
24:07
side even at a young age banini
24:09
had an impossible workload
24:11
and so created his own workshop
24:14
and this meant a group of students working
24:16
together under his guidance
24:18
they all lived together
24:19
ate together and created
24:21
together almost like a boarding
24:23
school today in art schools
24:26
the aim is to find your own voice your own methods
24:30
but in this period
24:31
the goal of the student
24:32
was simply to copy the master
24:35
they learned how to sculpt or paint like him and would help by sculpting
24:39
some of the details
24:40
early on they would just create basic shapes
24:43
later they might specialize
24:45
in drapery and later still
24:47
work on the figures
24:49
some of the real virtuoso
24:51
carving on Apollo and dhne
24:53
was done not by berini
24:54
but by his Workshop
24:56
one of those assistants
24:57
Juliano Finelli was particularly
25:00
Adept at working with a small drill
25:02
to carve the finer details
25:04
like Roots twigs and bark
25:06
the problem is that Bernini
25:08
never acknowledged the gifted Finelli
25:10
but to be fair
25:11
this was standard practice
25:13
and it's still is
25:14
many modern-day artists still use teams of unknown assistants
25:18
it is a way for young artists
25:20
to hone their craft
25:22
Finelli quit the workshop and became the first of many enemies berini
25:26
made thanks to his ruthless pursuit of personal
25:29
Fame like August Rodan
25:32
berini certainly never needed any help with his overall ideas and Imagination
25:37
just the technical skill of carving
25:39
it was simply a time-saving
25:41
measure and Finelli while highly skilled
25:44
was still just a Hired Hand
25:46
who went on to have an illustrious
25:48
career of his own
25:50
his importance in this story
25:51
is minimal in 1621
25:57
1 at just 23
25:59
years old Jan Lorenzo
26:00
berini received a Knighthood
26:03
from Pope Gregory V 15th
26:05
2 years later the new Pope Urban VII
26:08
the man who once held up bernini's
26:10
mirror as he sculpted
26:11
David became his greatest
26:13
benefactor employing him to redesign
26:16
and in fact redefine
26:18
Rome like Michelangelo he would be Rome's
26:21
chief architect so much of the theatrical
26:24
Grandeur we imagine when we think of Rome was was created by Bernini
26:29
who used the city
26:30
as if it were a stage setting for his greatest
26:33
Productions the history of Bernini
26:35
is the history of papal Rome
26:38
he sculpted the most Sublime
26:39
angels for Bridges created
26:42
Fountain after fountain for public squares
26:45
framed ancient Egyptian obelisks
26:47
throughout the city designed
26:49
churches and ceilings and
26:51
domes Thrones for Saints
26:54
and outrageously theatrical sculptures
26:57
he designed designed an ingenious
26:58
Masterpiece to cover the papal altar
27:01
over the ancient tomb of St
27:02
Peter a committed Catholic
27:05
he also created statues for the faithful
27:08
which included one of his most controversial
27:11
and possibly erotic works
27:14
but perhaps there is one work of his more than any other that represents
27:18
bernini's Rome St Peter
27:21
Square he created public spaces
27:24
in the way he created
27:25
sculptures as a way of communicating
27:28
with the space of the viewer
27:30
and bernini's design for St Peter square
27:33
has a remarkable sense of Harmony
27:36
unity the square orato
27:39
tondo is shaped from two intersecting
27:41
Circles of equal diameter
27:45
in the middle of the square is an enormous
27:47
Obelisk from ancient Egypt
27:49
and that acts as a Sund
27:52
D berini has used the Obelisk
27:55
as a sort of pivot
27:56
when designing the square
27:59
the arms of the colonades
28:01
are a section of each circle
28:03
designed to symbolize the motherly Embrace of the church
28:06
reaching out to encircle
28:08
the faithful creating a sense of security
28:11
and protection for up to 100,000
28:13
visitors and pilgrims it is still an unrivaled
28:17
urban space and a masterful
28:19
addition that physically links berini
28:22
to Michelangelo the architect
28:24
of St peters's few artists have ever come close to the status and stardom
28:30
known by berini sculptor
28:33
architect painter and the designer
28:35
of Rome as we know it
28:37
he spent practically his whole working life in the Eternal
28:41
City and everywhere he went
28:43
he was fed and mobbed by huge
28:46
crowds but as Bernini
28:47
himself predicted he would be dismissed
28:50
after his death and like so many artists of the Barack
28:54
be written out of art
28:56
history scen as overly stylized
28:59
too extravagant and over
29:00
dramatic the 18th and 19th century
29:03
saw Bernini and virtually
29:05
or barck artists criticized
29:07
by Art historians and ignored
29:09
by the public kavio
29:14
this happened more often than not in the non-catholic
29:17
countries of Northern Europe
29:19
and particularly in Victorian
29:21
England but in the 20th
29:23
century critics began to recognize
29:25
bernini's achievements and slowly began to restore his artistic
29:30
reputation and now he
29:32
like kajio is seen as one of barack's
29:34
supreme Masters Jan Lorenzo
29:41
berini was the last of Italy's
29:44
Universal Geniuses a polymath
29:47
who can take his place alongside his
Like
Share
Great Art Explained
View all →
C1
Art
Karaoke
18:29
The Milkmaid by Johannes Vermeer: Great Art Explained
Great Art Explained
C1
Art
Karaoke
32:31
John Singer Sargent (Full Length): Madame X and Dr. Pozzi
Great Art Explained
C1
Art
Karaoke
36:11
Great Art Explained: The Last Supper by Leonardo da Vinci
Great Art Explained
C1
Art
Karaoke
51:10
Dark Goya (Full length): The later Works
Great Art Explained
C1
Art
Karaoke
18:40
René Magritte: Great Art Explained
Great Art Explained
C1
Art
Karaoke
15:25
Georges Seurat: Great Art Explained
Great Art Explained
C1
Art
Karaoke
25:12
The School of Athens by Raphael: Great Art Explained
Great Art Explained
C1
Art
Karaoke
31:01
Great Art Explained: Las Meninas by Diego Velázquez
Great Art Explained
Suggested videos
B2
Art
Karaoke
9:40
What This Photo Doesn't Show
The Art Assignment
C1
Art
Karaoke
18:29
The Milkmaid by Johannes Vermeer: Great Art Explained
Great Art Explained
B2
Art
Karaoke
13:11
The Case for Impressionism
The Art Assignment
C1
Art
Karaoke
32:31
John Singer Sargent (Full Length): Madame X and Dr. Pozzi
Great Art Explained
C1
Art
Karaoke
36:11
Great Art Explained: The Last Supper by Leonardo da Vinci
Great Art Explained
C1
Art
Karaoke
51:10
Dark Goya (Full length): The later Works
Great Art Explained
B2
Art
Karaoke
12:43
The $150,000 Banana
The Art Assignment
B2
Art
Karaoke
8:10
Art You Can't Get To
The Art Assignment
