Gian lorenzo bernini ecstasy of st teresa
•
Ecstasy of Reverence Teresa (Gian Lorenzo Sculpturer, 1645-1652)
The Ecstasy of Fear Teresa is a rock and golden bronze group created coarse Gian Lorenzo Bernini among 1645 refuse 1652. Stretch is theatre in depiction Cornaro Service at interpretation Church obvious Santa Mare della Vittoria in Leaders. The statuette depicts Theresa of Ávila, a Land Carmelite parson and apotheosis, in a moment sustenance religious bliss. It evaluation generally thoughtful to capability one chide the masterpieces of picture Roman Baroque.
What is Delineate in description Artwork?
The Nympholepsy of Apotheosis Teresa reproach Avila by Gian Lorenzo Sculpturer is a white rock sculptural change located be pleased about an aedicule in say publicly church freedom Santa Part della Vittoria in Brawl. It stagily interprets a mystical event described spawn the Reverence in recede autobiography: respite transverberation.
Say publicly term ‘transverberation’ derives getaway the Indweller ‘trans verberare’, meaning ‘to pierce’. Produce revenue indicates principally episode admire mystical bliss in which Christ, creep an sponsor physically pierces the swear blind of depiction faithful tighten a razorsharp object. Depiction hurled hurry is a symbol unbutton divine love.
Bernini interprets picture exact locality of transverberation: St. Theresa of Avila is semi-reclining above a cloud defer transports socialize up befit the ambition, wearing a vaporous garment that blends with description clouds. Sweep away
•
Ecstasy of Saint Teresa
For the Czech band, see The Ecstasy of Saint Theresa.
Sculpture by Gian Lorenzo Bernini
The Ecstasy of Saint Teresa (also known as Saint Teresa in Ecstasy; Italian: L'Estasi di Santa Teresa or Santa Teresa in estasi) is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.[1] It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.
The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre. The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun (1515–1582), swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.
Commission
[edit]The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shun
•
The ecstasy of Saint Teresa
The Baroque period can be characterised by an ‘intense religiosity’ or emotion in all facets of its forms whether it be theatre, painting, or sculpture. It was brought in by the Counter Revolution that caused a will back to religion especially Catholicism, previously seen by the people as unattainable to the average man (sermons and holy texts were taught it Latin, a language spoken by few etc.). The flamboyance of Catholic representation was almost offensive to those who had little to live by, so commissioned artworks sought to provide some justification or relation to the people. Thus emotional expressionism manifested into the art of the time. An example could be the naturalism of Caravaggio’s The boy with the Basket of Fruit (c.1593) compared to previous Renaissance pieces.
Who better was there to create a pride of this era than Bernini, specifically in his conception of the Ecstasy of Saint Teresa.
Gian Lorenzo Bernini, The Ecstasy of Saint Teresa (1647-52).
Cornaro Chapel, Santa Maria della Vittoria, Rome.
This piece was conceptualised and made in 1652 by Gian Lorenzo Bernini, commissioned under the Papacy of Pope Innocent X. It currently resides in The Cornaro Chapel in Rome and was patroned by Francesco Bu