Bernini: He Had the Touch by Ingrid D. Rowland

Bernini may have hated making portraits of other people, but he did it supremely well. We can look right into the blandly impervious face of his great patron, Pope Urban VIII, newly elected and delighted at the prospect of his papacy (in a 1631 engraved portrait by Claude Mellan from a drawing by Bernini), and then we can see the haggard image of Urban ten years later, after his two tragic mistakes, the condemnation of his onetime friend Galileo Galilei and his futile war against the feudal stronghold of Castro, have blighted the final years of his reign. The sculptor lavished particular attention on a larger-than-life terra-cotta bust of Pope Alexander VII, a diplomat with a poet’s soul who counted as a true friend, and on the ardently intimate marble portrait bust of his mistress, Costanza, exhibited in “Barocco a Roma” with the traditional identification as Costanza Bonarelli.

Despre Claudiu Degeratu
Expert in securitate nationala, internationala, NATO, UE, aparare si studii strategice

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