Gebruiker:The Fly/Barok

Baroque sculpture

In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms— they spiralled around an empty central vortex, or reached outwards into the surrounding space. For the first time, Baroque sculpture often had multiple ideal viewing angles. The characteristic Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains. Aleijadinho in Brazil was also one of the great names of baroque sculpture, and his master work is the set of statues of the Santuário de Bom Jesus de Matosinhos in Congonhas. The soapstone sculptures of old testament prophets around the terrace are considered amongst his finest work.

The architecture, sculpture and fountains of Bernini (1598–1680) give highly charged characteristics of Baroque style. Bernini was undoubtedly the most important sculptor of the Baroque period. He approached Michelangelo in his omnicompetence: Bernini sculpted, worked as an architect, painted, wrote plays, and staged spectacles. In the late 20th century Bernini was most valued for his sculpture, both for his virtuosity in carving marble and his ability to create figures that combine the physical and the spiritual. He was also a fine sculptor of bust portraits in high demand among the powerful.

Bernini's Cornaro chapel: the complete work of art

A good example of Bernini's work that helps us understand the Baroque is his St. Theresa in Ecstasy (1645–52), created for the Cornaro Chapel of the church of Santa Maria della Vittoria, Rome. Bernini designed the entire chapel, a subsidiary space along the side of the church, for the Cornaro family.

He had, in essence, a brick box shaped something like a proscenium stage space with which to work. Saint Theresa, the focal point of the chapel, is a monochromatic marble statue (a soft white) surrounded by a polychromatic marble architectural framing concealing a window to light the statue from above. In shallow relief, sculpted figure-groups of the Cornaro family inhabit in opera boxes along the two side walls of the chapel. The setting places the viewer as a spectator in front of the statue with the Cornaro family leaning out of their box seats and craning forward to see the mystical ecstasy of the saint. St. Theresa is highly idealized in detail and in an imaginary setting. St. Theresa of Avila, a popular saint of the Catholic Reformation, wrote narratives of her mystical experiences aimed at the nuns of her Carmelite Order; these writings had become popular reading among lay people interested in pursuing spirituality. She once described the love of God as piercing her heart like a burning arrow. Bernini literalizes this image by placing St. Theresa on a cloud in a reclining pose; what can only be described as a Cupid figure holds a golden arrow (the arrow is made of metal) and smiles down at her. The angelic figure is not preparing to plunge the arrow into her heart— rather, he has withdrawn it. St. Theresa's face reflects not the anticipation of ecstasy, but her current fulfillment, which has been described as orgasmic.

Menshikov Tower in Moscow.

The blending of religious and erotic was intensely offensive to both neoclassical restraint and, later, to Victorian prudishness; it is part of the genius of the Baroque. Bernini, who in life and writing was a devout Catholic, is not attempting to satirize the experience of a chaste nun, but to embody in marble a complex truth about religious experience— that it is an experience that takes place in the body. Theresa described her bodily reaction to spiritual enlightenment in a language of ecstasy used by many mystics, and Bernini's depiction is earnest.

The Cornaro family promotes itself discreetly in this chapel; they are represented visually, but are placed on the sides of the chapel, witnessing the event from balconies. As in an opera house, the Cornaro have a privileged position in respect to the viewer, in their private reserve, closer to the saint; the viewer, however, has a better view from the front. They attach their name to the chapel, but St. Theresa is the focus. It is a private chapel in the sense that no one could say mass on the altar beneath the statue (in 17th century and probably through the 19th) without permission from the family, but the only thing that divides the viewer from the image is the altar rail. The spectacle functions both as a demonstration of mysticism and as a piece of family pride.