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From Library Journal
Wittkower's (1901-71) book, first published in 1955 and updated in 1966 and 1981, derives from an Italian edition of 1900. The text, which deals chiefly with the sculptures of this multifaceted Italian artist (1598-1680), is a classic. Though some of the entries have been updated and some new plates added, the main reason for this new edition seems to be its first issuance in paperback. This, and the fact that the color plates are less than stellar, mean that all but advanced art history collections can safely pass on this edition if they have earlier ones. Avery's book takes a broader look at Bernini, covering sculpture, drawings, models in terra cotta, urbanistic projects such as fountains, and his work for St. Peter's and other Roman churches. The color photographs are better than those in the Phaidon book, where they are separate from the text; neither title offers uniformly better black-and-whites. Avery (sculpture, Victoria and Albert Museum) writes well, offers more context and comparative illustrations, and draws on material unavailable to Wittkower in shaping his text. Avery is the choice for all but the most scholarly of collections, which will want both titles.?Jack Perry Brown, Art Inst. of Chicago Lib.
Copyright 1998 Reed Business Information, Inc.
Copyright 1998 Reed Business Information, Inc.
Kurzbeschreibung
Gian Lorenzo Bernini (1598-1680) was the most influential sculptor of his age. Inventive and skilled, he virtually created the Baroque style. In his religious sculptures he excelled at capturing movement and extreme emotion, uniting figures with their setting to create a single conception of overwhelming intensity that expressed the fervour of Counter-Reformation Rome. Intensity and drama also characterize his portraits and world-famous Roman fountains. This monograph provides an authoritative introduction to all aspects of Bernini's sculpture, while the full catalogue gives detailed information on his complete oeuvre.
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Format:Taschenbuch
Seit seiner Erstpublikation von 1955 ist Rudolf Wittkower's "Bernini - The Sculptor Of The Roman Baroque" schlicht das Standardwerk zu Gianlorenzo Bernini. Die nunmehr vierte Auflage, ein Nachdruck aus dem Hause Phaidon, wartet mit zusätzlichen, neuen Photographien auf, darunter 30 herausragende Farbabbildungen. Erstmals als Paperback erhältlich wurde das große Werk Wittkowers somit auf den neuesten (technischen und wissenschaftlichen) Stand gebracht.
Die Untersuchung Wittkowers selbst nimmt sich als äußerst knapp, aber präzise aus: Alle wichtigen Aspekte der Bildhauerkunst Berninis werden jeweils in einer eigenen Abhandlung erfasst. Anschließend finden alle Gesichtspunkte vermittels zahlreicher großformatiger Abbildungen ihre Veranschaulichung. Diese Gliederungsform bietet eine fundierte und zuverlässige Quelle für eine wissenschaftliche Auseinandersetzung mit Berninis Kunst.
Daran schließt der chronologisch geordnete Werkskatalog an. Dieser wurde redaktionell auf den neuesten Forschungsstand gebracht. Auf Basis des Katalogs der 2. Auflage von 1966 enstand so ein detailiertes, wissenschaftliches und komplettes Werksverzeichnis.
Zusammengefasst: Ein kunstwissenschaftlich unverzichtbares Werk für Studenten, Gelehrte und Kunstfans, die sich eingehend mit Bernini beschäftigen. Durch die fast schon verschwenderische Abbildungsvielfalt und exzellente Abbildungsqualität ersetzt das Buch beinahe die persönliche Inaugenscheinnahme vor Ort.
Ob seiner Komplexität ist das Buch aber nicht unbedingt für Einsteiger geeignet. Hier empfiehlt sich vielmehr Arne Karstens (ebenfalls brillanter) romanhafter Überblick "Bernini. Der Schöpfer des barocken Rom".
Die Untersuchung Wittkowers selbst nimmt sich als äußerst knapp, aber präzise aus: Alle wichtigen Aspekte der Bildhauerkunst Berninis werden jeweils in einer eigenen Abhandlung erfasst. Anschließend finden alle Gesichtspunkte vermittels zahlreicher großformatiger Abbildungen ihre Veranschaulichung. Diese Gliederungsform bietet eine fundierte und zuverlässige Quelle für eine wissenschaftliche Auseinandersetzung mit Berninis Kunst.
Daran schließt der chronologisch geordnete Werkskatalog an. Dieser wurde redaktionell auf den neuesten Forschungsstand gebracht. Auf Basis des Katalogs der 2. Auflage von 1966 enstand so ein detailiertes, wissenschaftliches und komplettes Werksverzeichnis.
Zusammengefasst: Ein kunstwissenschaftlich unverzichtbares Werk für Studenten, Gelehrte und Kunstfans, die sich eingehend mit Bernini beschäftigen. Durch die fast schon verschwenderische Abbildungsvielfalt und exzellente Abbildungsqualität ersetzt das Buch beinahe die persönliche Inaugenscheinnahme vor Ort.
Ob seiner Komplexität ist das Buch aber nicht unbedingt für Einsteiger geeignet. Hier empfiehlt sich vielmehr Arne Karstens (ebenfalls brillanter) romanhafter Überblick "Bernini. Der Schöpfer des barocken Rom".
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7 Rezensionen
20 von 20 Kunden fanden die folgende Rezension hilfreich
A Must For Bernini Scholars
5. September 2000
Format:Taschenbuch
Wittkower's work is simply stated an artistic anthology of the achievements and life of the chief architect of the Roman Baroque. His perseptive commentary and pertinent factual information are extremely useful to all who attempt to comprehend the complex messages behind all of Bernini's work. While the author stays committed to rendering the artist as a sculptor and architect, one wishes that Wittkower would delve more into the environment, particularly political and religious movements, that continually serve as an impetus and background to Bernini's chef d'oeuvres. Regardless, Wittkower's inclusion of both color and detailed black and white plates allow the viewer to observe the Baroque master's works in their appropriate light.
14 von 14 Kunden fanden die folgende Rezension hilfreich
bellissima
17. Juni 2002
Format:Taschenbuch
Wittkower has created a book that is easily enjoyable for those familiar of Bernini, or those starting to learn about art/archetecture of the Baroque. I highly reccommend this book to anyone remotely interested in this period, as the photos are clear and the explanations are not filled with jargon a lay person could not understand. bravo.
7 von 7 Kunden fanden die folgende Rezension hilfreich
Glorious study of a master
28. April 2010
Format:Taschenbuch
With a breadth and output of work rivaling that of Michelangelo, Gian Lorenzo Bernini (1598-1680) was one of the 17th century's most important artists. A devout Italian Catholic, he spent much of his life, and completed most of his work, in Rome, working under the patronage of various popes. His love of God and the spiritual intent in his work reminds me a little of JS Bach, though Bach was a lot less politically savvy. Like Bach, Bernini used his religious beliefs to reach for the sublime in his art, to take what came before and turn it into something more though the love of God.
It is probably this devotion to his faith, which included daily Mass, that led to perhaps his most revolutionary contribution to art: the synthesis of sculpture, painting, and architecture. He was concerned with the overall visual effect of a work- its theatricality- going so far as to place his sculptures at specific angles in a room to produce the desired effect. He also pioneered the use of natural light versus the standard painted light to intensify the spiritual impact of a work, most effectively employed in the Cornaro Chapel. St. Peter's Square, probably his most well-known (and seen, on television anyway) work, employs an ingenious use of the simplest classical columns, light, and open space to create a majestic place for the faithful to receive their pope.
But despite his broad artist endeavors, it is as a sculptor that Bernini will be most remembered, and which Rudolf Wittkower's classic study of the artist focuses. His sculptures rationalize the excess of the Mannerist sculptors, who reacted to the limits of the classical form by creating many extremities and multiple viewpoints. Bernini took on the single viewpoint of the classical and combined it with the energy of the Mannerists to form a focus of action, creating a narrative in marble. This can be best seen in his early works, such as Pluto & Proserpina, Apollo & Daphne, and David; and later Ecstasy of St Theresa.
Wittkower breaks Bernini's work into chunks based on theme: Early Works & Borghese Patronage, Religious Imagery, Portrait Busts, Chapels, Fountains & Monuments. He begins each section with a short analysis of the subject, no more than 3-5 pages. This leaves plenty of room for the pictures and allows the reader to linger over the work, which the reader will want to do. The book has dozens of black and white photos, showing the fine details of many works, details that highlight Bernini's genius. There are 30 more color plates after the main body of the book to allow a better view of some of the works where color is important, like The Ecstasy. Further, for the true students of the artist, the book finishes with a complete catalogue of Bernini's works, with a detailed history of each.
This book is a treasure and a must for any fan of Bernini or sculpture in general.
It is probably this devotion to his faith, which included daily Mass, that led to perhaps his most revolutionary contribution to art: the synthesis of sculpture, painting, and architecture. He was concerned with the overall visual effect of a work- its theatricality- going so far as to place his sculptures at specific angles in a room to produce the desired effect. He also pioneered the use of natural light versus the standard painted light to intensify the spiritual impact of a work, most effectively employed in the Cornaro Chapel. St. Peter's Square, probably his most well-known (and seen, on television anyway) work, employs an ingenious use of the simplest classical columns, light, and open space to create a majestic place for the faithful to receive their pope.
But despite his broad artist endeavors, it is as a sculptor that Bernini will be most remembered, and which Rudolf Wittkower's classic study of the artist focuses. His sculptures rationalize the excess of the Mannerist sculptors, who reacted to the limits of the classical form by creating many extremities and multiple viewpoints. Bernini took on the single viewpoint of the classical and combined it with the energy of the Mannerists to form a focus of action, creating a narrative in marble. This can be best seen in his early works, such as Pluto & Proserpina, Apollo & Daphne, and David; and later Ecstasy of St Theresa.
Wittkower breaks Bernini's work into chunks based on theme: Early Works & Borghese Patronage, Religious Imagery, Portrait Busts, Chapels, Fountains & Monuments. He begins each section with a short analysis of the subject, no more than 3-5 pages. This leaves plenty of room for the pictures and allows the reader to linger over the work, which the reader will want to do. The book has dozens of black and white photos, showing the fine details of many works, details that highlight Bernini's genius. There are 30 more color plates after the main body of the book to allow a better view of some of the works where color is important, like The Ecstasy. Further, for the true students of the artist, the book finishes with a complete catalogue of Bernini's works, with a detailed history of each.
This book is a treasure and a must for any fan of Bernini or sculpture in general.
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