By Maarten Delbeke
Precise between early glossy artists, the Baroque painter, sculptor, and architect Gianlorenzo Bernini was once the topic of 2 monographic biographies released almost immediately after his loss of life in 1680: one by way of the Florentine gourmand and author Filippo Baldinucci (1682), and the moment by means of Bernini's son, Domenico (1713). This interdisciplinary selection of essays through historians of artwork and literature marks the 1st sustained exam of the 2 biographies, at first as texts. a considerable introductory essay considers each one biography's writer, genesis, and foundational function within the learn of Bernini. 9 essays combining art-historical study with insights from philology, literary heritage, and artwork and literary idea supply significant new insights into the multifarious connections among biography, paintings heritage, and aesthetics, inviting readers to reconsider Bernini's existence, artwork, and milieu.
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Extra resources for Bernini's Biographies: Critical Essays
By the end of 1674, according to Montanari, two components of what would become Baldinucci’s biography of Bernini — a chronology of his life and a catalogue of his works —had been drafted by the artist’s sons. It is Montanari’s view that as Pier Filippo continued to add to the catalogue of his father’s works (that survives in three manuscript versions),88 the Bernini family, having hoped in vain that the biography would be published with the support of the pope, decided to seek a patron for their project in the person of Queen Christina of Sweden.
This state of the question urges us to investigate the complex matters of authorship and precedence as grounds for interpretation rather than as an independent inquiry, which, presuming it could be resolved, would sew up the biographical problem. One way to enhance our understanding of the texts, given this still incomplete picture of their history, is by paying more attention to the training, professional activities, and written oeuvres of the individual authors themselves. qxd 11/10/06 7:04 AM Page 23 prolegomena of Pier Filippo.
47 The same reviewer also pointed to three essential problems in early Bernini studies that arise from the use of Baldinucci’s biography: in Fraschetti and Reymond, Bernini seems to appear as an absolutely new and unique artist, without forebears or influences; the stylistic evolution of Bernini’s busts plainly contradicted the chronology proposed by Baldinucci; and, more generally, that “the true derivation of Bernini’s style” could not be understood until a far more complete view of Roman Baroque art emerged.
Bernini's Biographies: Critical Essays by Maarten Delbeke