4 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Paola/fontana_dell_acqua_paola.jpeg ee3494066d2996ea7e29cab98a6dd959 https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Paola/fontana_dell_acqua_paola_2.jpeg 9221797a752bd733f20fe32948ed3cc0 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 Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes 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 Fontana dell'Acqua Paola Description An account of the resource This fountain, built in 1612, celebrates the great engineering feat of Roman aqueducts. Marking the end of the Acqua Paola, the Fontana dell’Acqua Paola celebrates Paul V and his impact on the area. Restoring the existing aqueduct, Pope Paul V created a way for citizens of the Janiculum Hill to get easy access to water, without having to drink the polluted Tiber water. There have been issues with attribution of the fountain, but it was most likely done by Giovanni Fontana and/or Flaminio Ponzio. In the creation of the fountain, the architects needed a grandiose display of Paul V’s legacy. Thus they created the Fontana dell’Acqua Paola. Resting atop the Janiculum Hill, this fountain is quite an imposing site. Taking inspiration from the preceding Fontana dell’Acqua Felice, the Fontana dell’Acqua Paola contains many similar themes. The fountains both have a shared arch structure, with the Fontana dell’Acqua Paola containing five arches, three large and two smaller, flanking either side. The focus of this fountain is most definitely on the water itself, as no statuary decorates the fountain. This fountain contains a large facade, so that the arches fit into a greater structure. Atop the arches lies an inscription that dedicates the fountain to Pope Paul V. The water seems to gush from the walls in between the columns of the arches, pouring into basins that lie below. The bottom basin that catches all of the overflow was added in 1690 by Carlo Fontana. This fountain served the role of providing water to the people. For the people of the Janiculum Hill and beyond, trekking to get water from the Tiber or the other aqueducts was the only option for a long time. Yet the Acqua Paola provided a cleaner, easier source of water. Yet had this been the only purpose, the aqueduct would have simply ended, with no fountain. The fountain celebrates many things, especially the papacy. Pope Paul V wanted his legacy remembered for bringing water to the people. Lying on top of a hill, the fountain is very visible in many areas of the cityscape. It stands out, as it stands alone, not built into a piazza or resting in the facade of a building. Additionally, besides holding similarities to the Fontana dell’Acqua Felice, this fountain has many similarities to the Fontana di Trevi. Thus, it is most likely that these two fountains inspired the Fontana di Trevi and were held in high regard by many. Fountains bring art to the people, putting them in public spaces where they are easily accessible. The Fontana dell’Acqua Paola does this to an extreme. By placing the fountain atop of a hill it not only makes it visible to many people for a greater area, but also gives off the impression of the fountain and in extension the dominance of the papacy towering over the viewer. Creator An entity primarily responsible for making the resource Giovanni Fontana Flaminio Ponzio Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Heilmann, Christoph H. “Acqua Paola and the Urban Planning of Paul V Borghese.” The Burlington Magazine 112, no. 811 (October 1970): 656–63. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Publisher An entity responsible for making the resource available Pope Paul V Date A point or period of time associated with an event in the lifecycle of the resource 1612 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Granite Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Janiculum Hill, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Il_Gesu_plan/gesuPlan.jpg 0a4cb3e3cf868657bb65cce85d90d948 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 Il Gesù: plan Description An account of the resource Plan of the mother church for the Jesuit Order in Rome. Creator An entity primarily responsible for making the resource G.B. Vignola Source A related resource from which the described resource is derived Rome: Il Gesu: Plan. Images, n.d. https://jstor.org/stable/community.13898058. Publisher An entity responsible for making the resource available Alessandro Farnese Date A point or period of time associated with an event in the lifecycle of the resource begun 1571 Contributor An entity responsible for making contributions to the resource Kyle Campbell Type The nature or genre of the resource Redrawn print of a drawing Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Gesu_Facade/gesuFacade.jpg c7c1317d04e7acc1b8b6408371529b64 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 Gesu Facade Description An account of the resource This is the facade of the mother church for the Jesuit Order, constructed in 16th century Rome. Creator An entity primarily responsible for making the resource Design by G.B. Vignola: completed by Giacomo della Porta Source A related resource from which the described resource is derived Rome: Il Gesu: Facade. Images, n.d. https://jstor.org/stable/community.13894445. Publisher An entity responsible for making the resource available Alessandro Farnese Date A point or period of time associated with an event in the lifecycle of the resource 1571 Contributor An entity responsible for making contributions to the resource Kyle Campbell Type The nature or genre of the resource Facade Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Madonna_della_Vallicella/madonnadvalicella-2.jpg bbec2723b7707b4e8094ff8e8572f10a 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 Madonna della Vallicella Description An account of the resource An altarpiece by Rubens for Chiesa Nuova. Originally done on canvas, the work was redone on slate. Creator An entity primarily responsible for making the resource Peter Paul Rubens Source A related resource from which the described resource is derived Peter Paul Rubens. Madonna Della Vallicella Adored by Seraphim and Cherubim. Images, n.d. https://jstor.org/stable/community.14481095. Date A point or period of time associated with an event in the lifecycle of the resource 1608 Contributor An entity responsible for making contributions to the resource Kyle Campbell Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource 425x250 cm Type The nature or genre of the resource oil on slate Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Chiesa Nuova, Rome https://www.baroque.dahvc.org/fall-2021/files/original/Entombment_of_Christ/entombmentofchrist.jpg f4f94eca5506bdcf49762b745c0e7e0e 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 Entombment of Christ Subject The topic of the resource Passion of Christ Description An account of the resource An altarpiece originally in the Capella della Pieta chapel in the right nave of the Chiesa Nuova. Creator An entity primarily responsible for making the resource Caravaggio, Michelangelo Source A related resource from which the described resource is derived Caravaggio, Michelangelo Merisi da, 1573-1610. Entombment of Christ. Images, n.d. https://jstor.org/stable/community.13589378. Publisher An entity responsible for making the resource available Patron: Pietro and Girolamo Vittrice Date A point or period of time associated with an event in the lifecycle of the resource 1602-4 Contributor An entity responsible for making contributions to the resource Kyle Campbell Format The file format, physical medium, or dimensions of the resource 300x203cm Type The nature or genre of the resource Oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Vatican Pinacoteca, Vatican City https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Cornaro_Chapel/Full-Cornaro-Chapel.jpg 7476afab7f10e2d8f9dc513e54a36bb3 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 Cornaro Chapel Description An account of the resource The construction of the Cornaro Chapel took place from 1647 to 1652 at the Santa Maria della Vittoria in Rome. The project was comissioned by Frederigo Cornaro, the Cardinal of Venice to honor both himself, family members, and a saint. The chapel was constructed atop an already existing chapel [1]. At the center of the chapel is Bernini’s marble sculpture, The Ecstasy of Santa Teresa. In the sculpture, St. Teresa, draped intricately in carved fabric, lies defeated. Above her stands a cupid-esque figure holding an arrow aimed for St. Teresa’s heart. The cupid-like figure appears overjoyed in her expression, and also wears well carved robes. The statue evokes lightness and flow with the duality of emotion and intricate carving. Surriounding the statue are several columns almost sheltering the statue and emphasizing the sanctity. Adorning the top of this central element are painted figures made of stucco, appearing to almost float above the pedestal. On the walls adjacent, Bernini placed statues showing groups of individuals appearing like spectators. The figures are thought to be saints and Cornaro family members who bridge viewers with the scene of ecstasy. The fusion of architecture, sculpture, and painting presents an abundance of motion, flow, and tension and incorporates viewers both physically and emotionally into the scene. Irving Lavin presents a detailed analysis of this fusion in his text, “Bernini and the Unity of the Visual Arts.” Lavin shows how Bernini mastered and fused the three media, and was a visionary in doing so [2]. While Lavin is correct that Bernini did literally unite the media in pieces like the Cornaro Chapel [3], he also more figuratively created unity in his individual medium paintings. By looking closely at sculptures and paintings of Bernini’s, his ability to translate ideas swiftly through media becomes clear. [1] Warwick, Genevieve. “Bernini (1598–1680): Sculpting Sainthood.” Studies: An Irish Quarterly Review 104, no. 416 (2015): 444–55. http://www.jstor.org/stable/24640794. [2] Lavin, Irving. Bernini and the Unity of the Visual Arts. New York: Oxford Univ. Press, 1980. [3] Montagu, Jennifer. “Bernini and the Unity of the Visual Arts.” The Burlington Magazine 124, no. 949 (1982): 240–43. http://www.jstor.org/stable/880696. Source A related resource from which the described resource is derived Lavin, Irving. Bernini and the Unity of the Visual Arts. New York: Oxford Univ. Press, 1980. Montagu, Jennifer. “Bernini and the Unity of the Visual Arts.” The Burlington Magazine 124, no. 949 (1982): 240–43. http://www.jstor.org/stable/880696. Publisher An entity responsible for making the resource available SCALA Date A point or period of time associated with an event in the lifecycle of the resource 1647-1652 Contributor An entity responsible for making contributions to the resource Meena Gudapati Type The nature or genre of the resource Architecture, sculpture, 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 S. Maria della Vittoria, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Self-Portrait_as_a_Young_Man/selfpor1.jpg 60921efcb3e1a705423f8fe7be339714 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 Self-Portrait as a Young Man Description An account of the resource Bernini’s Self-Portrait as a Young Man, painted in 1623 at the young age of 25, is done in oil paint on a 38 cm by 30 cm canvas. The painting is in the Galleria Borghese in Rome as a part of the collection of Scipione Borghese [1]. The portrait, featuring Bernini’s image from the shoulders up, is set over a green and brown background. Berninis chest faces the left, and he looks forward directly at the viewer. With arched eyebrows and piercing eyes looking straight forward, Bernini looks alarmed in the image. Though much of Bernini’s work is in uncolored sculpture, he shows a mastery of his understanding of color through his painting. By extending hints of yellow and green from the background to the highlights on his face, he develops a coherent looking image. Bernini further shows his skill as a painter in his anatomical accuracy of the color zones of the face: undertones of yellow in the forehead, sanguine red in the cheeks and nose, and blue-green around the chin. Bernini shows sculptural techniques in his portrait. He has carved out features and placed in details as he would in a marble sculpture. Looking at the right eye region as an example, Bernini carved out the eye socket as delineated by the angles running down the nose bridge and brow bone. Within this structure, the eye is detailed. Bernini would have used a similar method carving marble - first blocking out pieces, and then carving out details within [2]. Bernini has a strong understanding of planes as demonstrated in his brush strokes. He avoids blending, as is visible with the highlights from brush strokes placed across the forehead. Additionally, the brush strokes along the collar create texture for a seemingly simple, yet highly dimensional component. In addition to showing “unity of arts” in his ability to master several media, Bernini’s use of sculptural elements in his self-portrait show his ability to meld ideas across media. [1] “Self-Portrait as a Young Man.” Galleria Borghese. Accessed December 2, 2021. https://galleriaborghese.beniculturali.it/en/opere/self-portrait-as-a-young-man/. [2] Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived “Self-Portrait as a Young Man.” Galleria Borghese. Accessed December 2, 2021. https://galleriaborghese.beniculturali.it/en/opere/self-portrait-as-a-young-man/. Publisher An entity responsible for making the resource available Galleria Borghese Date A point or period of time associated with an event in the lifecycle of the resource 1623 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 38 x 30 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 Galleria Borghese, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Bust_of_a_Nobleman_in_Armour/637509103040876898_T637509103041410503.jpg 2e94b29944c54ec245294510ae3d5bd2 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 Bust of a Nobleman in Armour Description An account of the resource Sculptor Giovacchino Fortini carved Bust of a Nobleman in Armour in 1700. The bust is done in white marble, and currently belongs to a private collection [1]. Fortini, a Florentine sculptor, was renowned for his busts that marked a design shift from the late Baroque period in Italy. His characteristic style of clean cut shadows and bright marble create an aura of sophistication to his work. In Bust of a Nobleman in Armour, the model wears elegant looking armor, complete with a medusa emblem and cloth draping diagonally. He wears a wig with symmetric curls resting around his head and shoulders. The nobleman, who appears to be an adult, carries a restful expression and looks out to the audience denoting his high stature and experience in a humble manner. His posture is completely upright. Fortini’s bust shows a more typical use of the medium during the renaissance and the Baroque periods [2]. The bust is used to show distinguished figures at rest as a preservation of their power and legacy in society. Comparing this bust to Bernini’s Damned Soul and Blessed Soul conveys how Bernini’s unconventional use of sculpture at the time show his ability to stay medium-agnostic while establishing his artistic lens. Bernini uses busts outside of their more conventional purpose as shown by Fortini. Instead of depicting a person of high stature at rest, he captures motion, tension, and uncertainty in Blessed Soul and Damned Soul. Departing from the typical upright composition, Bernini embraces rotation. Even in Bernini’s bust comissions, such as the bust of Cardinal Scipione Borghnese, he shows motion through slight tilts and rotations, folds in fabric, and expression as a vehicle for showing power, intelligence and legacy. He takes these dynamic traits that are seen in portraits like Caravaggio’s Boy with a Basket of Fruit and boldly brings them to busts. [1] “Bust of a Nobleman in Armour Giovacchino Fortini (1670 ...” The British Antique Dealers' Association. BADA. Accessed December 2, 2021. https://www.bada.org/object/bust-nobleman-armour-giovacchino-fortini-1670-1736. [2] Warwick, Genevieve. “Bernini (1598–1680): Sculpting Sainthood.” Studies: An Irish Quarterly Review 104, no. 416 (2015): 444–55. http://www.jstor.org/stable/24640794. Creator An entity primarily responsible for making the resource Giovacchino Fortini Publisher An entity responsible for making the resource available BADA Date A point or period of time associated with an event in the lifecycle of the resource 1700 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 81 cm Type The nature or genre of the resource Bust Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Private Collection, New York City, USA Source A related resource from which the described resource is derived “Bust of a Nobleman in Armour Giovacchino Fortini (1670 ...” The British Antique Dealers' Association. BADA. Accessed December 2, 2021. https://www.bada.org/object/bust-nobleman-armour-giovacchino-fortini-1670-1736. https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Boy_with_a_Basket_of_Fruit/download.jpg ec55d337c7665733c6d0687254010b50 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 Boy with a Basket of Fruit Description An account of the resource Caravaggios painting, Boy with a Basket of Fruit, is dated to early in his career from roughly 1593 to 1595. The painting is done in oil on a 70 by 67 cm canvas, and is a part of the Galleria Borghese in Rome [1]. Caravaggio created the painting early in his career during his still life exploration, and was originally for the Cavaliere d’Arpino, but was later taken by Scipione Borghese. During this time, Caravaggio arrived in Rome and was connected to Cardinal Francesco Maria del Monte, his first significant Patron. The painting features a boy, thought to be modeled by the painter Mario Minniti, at the age of 16 [2]. He faces his body toward the right, but looks out toward the viewer. With his head tilted up and his mouth slightly agape, the boy shows a look of peace. The facial expression is reminiscient of Bernini’s Blessed Soul bust with a satisfied, relaxed look and slightly open mouth. In Boy with a Basket of Fruit, the boy tilts over with his tunic falling off the shoulders. His tunic carries folds and fluidity, emulating the classically Baroque fluidity. The basket he holds is overfilled with a variety of fruits that spill out of the sides. Accompanying these physical characteristics of the painting with his loose expression, Caravaggio has created motion and fluidity in a seemingly “still life.” Accompanying this motion with dramatic lighting and bold colors, Caravaggio has created a painting carrying themes characteristic of the Italian Baroque painting movement. This portrait serves as a benchmark for themes in Baroque oil portraiture, and comparing it to Bernini's busts allows us to understand how Bernini encapsulated movements from Baroque portraits to sculpture. As is demonstrated by Damned Soul and Blessed Soul, Bernini was able to translate these themes to the seemingly frigid medium of sculpture. Damned Soul is depicted amidst agony, and Blessed Soul seems lifted to ascend to heaven - these dynamics, similar to the dynamics Caravaggio presents in painting, are used by Bernini to spearhead the Baroque sculpture movement. [1] “Boy with a Basket of Fruit by Caravaggio.” Web Gallery of Art. Web Gallery of Art. Accessed December 2, 2021. https://www.wga.hu/html_m/c/caravagg/01/03boy_fr.html. [2] “Boy with a Basket of Fruit by Caravaggio.” Galerie Borghèse, August 2, 2019. https://borghese.gallery/collection/paintings/boy-with-a-basket-of-fruit.html. Creator An entity primarily responsible for making the resource Caravaggio Source A related resource from which the described resource is derived “Boy with a Basket of Fruit by Caravaggio.” Galerie Borghèse, August 2, 2019. https://borghese.gallery/collection/paintings/boy-with-a-basket-of-fruit.html. “Boy with a Basket of Fruit by Caravaggio.” Web Gallery of Art. Web Gallery of Art. Accessed December 2, 2021. https://www.wga.hu/html_m/c/caravagg/01/03boy_fr.html. Publisher An entity responsible for making the resource available Galleria Borghese Date A point or period of time associated with an event in the lifecycle of the resource 1593 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 70 x 67 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 Galleria Borghese, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/David/Michelangelo_s_David_-_right_view_2.jpg 14abde806d197b51c1a47c50e009f529 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 Creator An entity primarily responsible for making the resource Michaelangelo Source A related resource from which the described resource is derived “David.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed December 2, 2021. https://www.britannica.com/topic/David-sculpture. Keizer, Joost. “Giuliano Salviati, Michelangelo and the 'David'.” The Burlington Magazine 150, no. 1267 (October 2008): 664–68. https://www-jstor-org.proxy.lib.duke.edu/stable/40479899?pq-origsite=summon&seq=1#metadata_info_tab_contents. Publisher An entity responsible for making the resource available Michelangelo’s David was carved from 1501 to 1504. The statue stands at about 5.5m tall. The marble block used by Michelangelo to carve David had initially been partially used by artists Agostino di Duccio and Antonio Rossellino in the 15th century. Originally commissioned for the cathedral of Florence, the sculpture was ultimately put on the Palazzo Vecchio by the government of Florence. It currently sits in the Accademia [1]. David is thought to be depicted in a moment before the battle. He appears focused with a warning gaze to the right. He is nude and carries his sling over his shoulder in preparation to fight Goliath. David stands upright with a tilt in contrapposto. This pose, iconic to the Renaissance era, signals to the viewer that while David is standing still, he awaits uncertainty and will soon move. The uncertainty and potential for motion is novel in comparison to other major sculptures of David that came from artists prior to Michelangelo, such as Donatello - in Donatello’s depiction, David stands victorious. Michelangelo’s David shows themes iconic to the renaissance, with his realism of proportions and anatomy, depiction of drapery and history, and contrapposto [2]. Though Michelangelo does depart from the stillness and certainty in previous sculptures, Bernini captures the antithesis of these qualities. Both Bernini and Michelangelo embrace tension and uncertainty, but Bernini couples this with capturing motion. With the large scale of Michelangelo’s David and placement atop a high pedestal, paired with the stillness and upright nature of the composition, the viewer is not a part of David's scene. Instead, the viewer looks up his figure, almost in admiration. Contrastingly, Bernini’s life size sculpture places the user into the scene and motion unfolding, as does Rubens’ painting. Having been completed a century before Bernini's David, Michelangelo's David shows a prior ideal for the medium of sculpture. This comparison shows how Bernini stands out in uniting visual art media by capturing characteristics of paintings in his sculpture. [1] “David.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed December 2, 2021. https://www.britannica.com/topic/David-sculpture. [2] Keizer, Joost. “Giuliano Salviati, Michelangelo and the 'David'.” The Burlington Magazine 150, no. 1267 (October 2008): 664–68. https://www-jstor-org.proxy.lib.duke.edu/stable/40479899?pq-origsite=summon&seq=1#metadata_info_tab_contents. Date A point or period of time associated with an event in the lifecycle of the resource 1501-1504 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 5.5 m Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Accademia, Florence, Italy