جیان لورنزو برنینی

از ویکی پدیا
قس عربی
جان لورینزو برنینی ( 7 دیسمبر 1598 - 28 نوفمبر 1680 ) ( Gian Lorenzo Bernini ) کان نحّاتاً باروکیاً وفناناً بارزاً فی روما فی القرن سابع عشر.
[عدل]سیرة
ولد جوفانـّی لورینزو برنینی فی نابولی عام 1598، وکان ابن النحّات فلورینتین الذی قام بتدریبه. بعد الاستقرار فی روما، لفت برنینی انتباه البابا المستقبلی أوربانوس الثامن. تحت رعایة البابا أوربانوس الثّامن، قضى بیرنینی کامل مسیرته فی روما حیث کسب شهرته المعماریة فی فترة ألکساندر السابع ( 1655 - 67 ) .
بعدما ابتکر الأسلوب الباروکی، برع بیرنینی فی العمارة، والرسم، والنحت، الأمر الذی أدّى إلى ظهور جیل جدید من الأشکال. استعملت أعماله دراما المنظور الخاطئ الترومبلویل ( "Trompe l'oeil" ) لخلق تأثیر على المشاهدین للعمل. ابتکر أیضاً نوع من واجهات القصور بعد إضافة الأعمدة الهائلة فوق القاعدة.
بالرغم من أن برنینی ساهم فی ظهور أشکال نحتیة جدیدة کلیاً لبنایات عصر النهضة، إلا أنه أبقى باستمراریة الصفاء الأصلیة لعصر النهضة المثالی. توفی برنینی فی روما فی عام 1680.
[عدل]مراجع
هناک المزید من الصور والملفات فی ویکیمیدیا کومنز حول: جان لورینزو برنینی
برنینی
تصنیفات: معماریون إیطالیون رسامون إیطالیون فنانون إیطالیون موالید 1598نحاتون إیطالی ونوفیات 1680
قس انگلیسی
Gian Lorenzo Bernini ( also spelled Gianlorenzo or Giovanni Lorenzo ) ( Naples, 7 December 1598 – Rome, 28 November 1680 ) was an Italian artist who worked principally in Rome. He was the leading sculptor of his age and also a prominent architect. In addition he painted, wrote plays, and designed metalwork and stage sets.
A student of Classical sculpture, Bernini possessed the unique ability to capture, in marble, the essence of a narrative moment with a dramatic naturalistic realism which was almost shocking. This ensured that he effectively became the successor of Michelangelo, far outshining other sculptors of his generation, including his rival, Alessandro Algardi. His talent extended beyond the confines of his sculpture to consideration of the setting in which it would be situated; his ability to synthesise sculpture, painting and architecture into a coherent conceptual and visual whole has been termed by the art historian Irving Lavin the "unity of the visual arts. "[1] A deeply religious man, working in Counter Reformation Rome, Bernini used light as an important metaphorical device in the perception of his religious settings, often using hidden light sources that could intensify the focus of religious worship, [2] or enhance the dramatic moment of a sculptural narrative.
Bernini was also a leading figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect, Francesco Borromini and the painter and architect, Pietro da Cortona. Early in their careers they had all worked at the same time at the Palazzo Barberini, initially under Carlo Maderno and on his death, under Bernini. Later on, however, they were in competition for commissions and fierce rivalries developed, particularly between Bernini and Borromini. [3][4] Despite the arguably greater architectural inventiveness of Borromini and Cortona, Bernini's artistic pre - eminence, particularly during the reigns of popes Urban VIII ( 1623–1644 ) and Alexander VII ( 1655–1665 ) , meant he was able to secure the most important commission in the Rome of his day, St. Peter's Basilica. His design of the Piazza San Pietro in front of the Basilica is one of his most innovative and successful architectural designs.
During his long career, Bernini received numerous important commissions, many of which were associated with the papacy. At an early age, he came to the attention of the papal nephew, Cardinal Scipione Borghese, and in 1621, at the age of only twenty three, he was knighted by Pope Gregory XV. Following his accession to the papacy, Urban VIII is reported to have said, "Your luck is great to see Cardinal Maffeo Barberini Pope, Cavaliere; but ours is much greater to have Cavalier Bernini alive in our pontificate. "[5] Although he did not fare so well during the reign of Innocent X, under Alexander VII, he once again regained pre - eminent artistic domination and continued to be held in high regard by Clement IX.
Bernini and other artists fell from favour in later neoclassical criticism of the Baroque. It is only from the late ninete . . .