Gian Lorenzo Bernini’s portraits are often celebrated for their physiological rendering and for possessing an inner psychological presence that captured the essential characteristics of each sitter. In his Trattato della Pittura, Leonardo da Vinci wrote that any successful artist should be able to accurately depict man’s bodily form as well as the intentions of his mind. For Leonardo, this mental movement could only be achieved through the physical expression of the human body.
Traditionally, Bernini is considered the artistic heir of Michelangelo Buonarroti while the link to Leonardo’s theoretical writings has yet to be firmly established. By shifting the focus to Leonardo, this paper broadens the sources of influence on Bernini while establishing a dialogue on how art theory informed his creative practice.
Excerpts from Leonardo’s Trattato della Pittura are interpreted and applied to the analysis of select busts by Bernini in order to reveal how the sculptor expressed the inner movements of his sitter’s soul in stone. These portraits span Bernini’s creative career and are used to track the development of his theoretical approach to his artistic practice.
|Advisor:||Lloyd, Karen J|
|Commitee:||Rubin, James H|
|School:||State University of New York at Stony Brook|
|Department:||Art History and Criticism|
|School Location:||United States -- New York|
|Source:||MAI 81/4(E), Masters Abstracts International|
|Subjects:||Art history, Art Criticism, European history|
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