https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/David_Slaying_Goliath/F197205P.jpg 3d7e245d34ca2cb4bd0d6052b9c01e56 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gian Lorenzo Bernini - "Unity of the Visual Arts" Contributor An entity responsible for making contributions to the resource Meena Gudapati Description An account of the resource As a renowned sculptor, architect, and painter, Bernini fused all three media in several of his works. Art historian Irving Lavin published the book "Bernini and the Unity of Visual Arts" exploring in depth Bernini's synthesis of the media. Through my project, I will explore works of Bernini's to validate Lavin's widely known thesis. In addition to looking at works that more explicitly combine sculpture, architecture, and painting, I will look at individual works that show how Bernini looked beyond any norms and constraints of a medium. For example, through an analysis of his busts, we see how Bernini captured motion in a way that was previously restricted to paintings. Through this analysis of Bernini's more implicit methods of fusing media, I will endorse the term of Bernini's "Unity of Visual Arts". Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Slaying Goliath Description An account of the resource Peter Paul Rubens’ painting, David Slaying Goliath, was painted in oil on a 122.9 x 99.1cm canvas in 1616 [1]. In the painting, Rubens captures the moment where David has over powered Goliath, pushing him to the ground with his foot. David reaches his arms back holding a sword in preparation to strike at David. David’s body is caught in a comment of motion, with his muscles flexed to demonstrate tension. His eyebrows are furrowed and he appears concentrated on the coming strike. Rubens has placed David and Goliath boldly in the foreground, and faded into the background appears a charging army. Rubens' painting shares several commonalities with Bernini’s David. In both depictions, David’s body and expression is contorted in a moment of tension and uncertainty. While in Bernini’s sculpture, the viewer is uncertain of whether David will defeat Goliath, in Rubens' depiction, it is clear that David has already overpowered Goliath and awaits making his final strike. The viewer takes a similar role in both depictions as an active bystander in a scene of action. Both images show David with his abdomen rotated toward the viewer but his focus turned away, setting the viewer as a part of the scene. Rubens’ painting featuring bold, coherent colors of red, brown and blue with theatrical lighting and diagonal motion shows themes common to Italian Baroque oil painters like Caravaggio and Artemisia Gentileschi [2]. His use of posture and movement to show tension and place viewers in the scene shows characteristic traits to the Baroque movement. Rubens' painting was completed about a decade before Bernini's David. Seeing how Bernini was able to capture these Baroque painting characteristics demonstrated by Rubens in his sculpture depiction of David, viewers can understand how Bernini blurred lines between media. His use of these characteristics was novel, as will be made clear through the next analysis of Michelangelo’s David. [1] “David Slaying Goliath.” Norton Simon Museum, January 1, 1970. https://www.nortonsimon.org/art/detail/F.1972.05.P/. [2] Freeberg, David. Peter Paul Rubens: Oil Paintings and Oil Sketches. Columbia University, 1995. Creator An entity primarily responsible for making the resource Peter Paul Rubens Source A related resource from which the described resource is derived “David Slaying Goliath.” Norton Simon Museum, January 1, 1970. https://www.nortonsimon.org/art/detail/F.1972.05.P/. Freeberg, David. Peter Paul Rubens: Oil Paintings and Oil Sketches. Columbia University, 1995. Publisher An entity responsible for making the resource available Norton Simon Museum Date A point or period of time associated with an event in the lifecycle of the resource 1616 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 122.9 x 99.1 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Norton Simon Museum, Pasadena, USA