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The brilliantly expressive clay models created by Gian Lorenzo Bernini (1598–1680) as "sketches" for his works in marble offer extraordinary insights into his creative imagination. Although long admired, the terracotta models have never been the subject of detailed examination. This publication presents a wealth of new discoveries (including evidence of the artist's fingerprints imprinted on the clay), resolving lingering issues of attribution while giving readers a vivid sense of how the artist and his assistants fulfilled a steady stream of monumental commissions. Essays describe Bernini's education as a modeler; his approach to preparatory drawings; his use of assistants; and the response to his models by 17th-century collectors. Extensive research by conservators and art historians explores the different types of models created in Bernini's workshop. Richly illustrated, Bernini transforms our understanding of the sculptor and his distinctive and fascinating working methods.
- Sales Rank: #1125344 in Books
- Brand: Brand: Metropolitan Museum of Art
- Published on: 2012-10-30
- Original language: English
- Number of items: 1
- Dimensions: 1.46" h x 9.82" w x 11.27" l, 5.09 pounds
- Binding: Hardcover
- 432 pages
- Used Book in Good Condition
Review
Selected as a Choice Outstanding Academic Title for 2013 in the�Fine Arts Category. (Outstanding Academic Title Choice 2014-01-21)
"Bernini: Sculpting in Clay . . . by Ian Wardropper and others is the catalog for a magnificent exhibition . . . focusing on the Italian master's use of hand-formed terracotta models as first drafts or sketches for his supremely refined marble sculptures of the human form, including the famed angels of the Ponte Sant' Angelo in Rome. These works, which still bear traces of Bernini's fingerprints in the clay, document the artist's acute powers of observation and profound expressive gifts, offering a peek into the creative process of a truly towering figure in Baroque art.”—Jonathan Lopez, Wall Street Journal (Jonathan Lopez Wall Street Journal)
“As a scholarly study of artistic process, the book is thorough and well organized, including equal shares of history and biography, art criticism, reception studies, historiography, and curatorial practice. As a catalogue of Bernini’s models, the book is equally as exhaustive, with enlarged photographs of key details, such as “striations from dry brush smoothing” or finger marks that indicate Bernini’s fast and free style.”—Publishers Weekly (Publishers Weekly)
About the Author
C. D. Dickerson III is curator of European Art at the Kimbell Museum of Art, Fort Worth. Anthony Sigel is conservator of objects and sculpture at the Straus Center for Conservation and Technical Studies, Harvard Art Museums. Ian Wardropper is director of The Frick Collection, New York.
Most helpful customer reviews
6 of 7 people found the following review helpful.
An achievement
By Paul Werner
Those whose understanding of Bernini boils down to the usual pap about "bold, expressive" works "in their own right" or "creative fervor" (to quote the signage for the exhibition that this catalog accompanies) need not look beyond the pictures. This book is rigorous and smart and scholarly, and it treats Bernini's early drawings and sculptural drafts for what they are: thoroughgoing exercises, careful preparations for public works in which the apparent passion(sprezzatura) is directed toward an ultimate goal, the "passion" to be created in the viewer, the ultimate beneficiary of Bernini's efforts and those of his papal patrons. As a matter of personal preference I regret that the authors have neglected the social and political aspects of Bernini's enterprise in favor of a magisterial stylistic investigation. No matter: it's all there, in nuce.
Paul Werner
Editor, WOID: a journal of visual language.
5 of 6 people found the following review helpful.
An intense, exciting, in-depth study of Bernini's work in clay.
By margot gotoff
This analysis of Bernini's methods of working in clay has literally overwhelmed me with its attention to in-depth detail and the subtle conclusions it has put forward. The photographs of the minutest detail of a sculpture are exciting for this sculptor to behold. The ability to peer inside or underneath one of Bernini's sculptures is truly fascinating for it beckons one to travel along with Bernini on his creative journey.
I strongly recommend this book as an exciting way to understand the mind and creative methods of one of the greatest sculptors of all time!
2 of 2 people found the following review helpful.
Fingerprints of a master
By Dr. M. Heese
This is a superb book, an argument for the continued existence of hard copies in addtion to e-books with all their useful attributes. It is a beautiful artefact, presenting outstanding photographs coupled with insightful text from a variety of experts. The subject is a specialist angle on the work of Gianlorenzo Bernini, supreme maestro of the Italian Baroque. For around two centuries his work was out of fashion. Charles Dickens, for example, when visiting Rome, considered the angels on the Ponte Sant'Angelo to be hideous - in line with the taste of his contemporaries he disliked the swirling shapes and dramatic poses so expressive of emotion. However, art criticism has once more come to appreciate the extraordinary works of this prolific genius. Many books on his oeuvre have been published. What makes this one exceptional, is that it focuses not on Bernini's marble sculpture as such,but on the terracotta models he made in his workshop, where a large team of assistants helped him create the staggering output of artworks he produced in his lifetime. The Metropolitan Museum in New York presented an exhibition of the artist's models entitled: "Bernini: Sculpting in Clay," October 2012 to Jan 2013, which brought together 55 of the existing clay models from various museums. They range from small bozetti to larger modello piccolos and the occasional modello grande (life-size). A range of essays from Bernini experts provides commentary on and analysis of these models, relating them to questions and theories about the completed works, fountains, chapels and sculptures, for which they represent the artist's initial conception and more detailed vision for his stupendous works. Some still bear the imprint of the maestro's fingers as he modelled in the plastic material of clay his vision that had to be realised in marble. A must-have for Bernini lovers and students.
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