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 Bernini: Sculpting in Clay

The exhibition and catalogue are made possible by the Iris & B. Gerald Cantor Foundation.

The exhibition was organized by The Metropolitan Museum of Art, New York, and the Kimbell Art Museum, Fort Worth.

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Bernini's Transformation of Rome

Program information

In 1676 Giovan Battista Falda (1643–1678) issued a map of Rome that records the remarkable urban and architectural projects that were realized during Bernini's lifetime. This video presents a silent tour through the map, accompanied by illustrations of the works.

Prints (in order of appearance)

Map
Giovanni Battista Falda (1643–1678). Nuova pianta et alzata della citta di Roma con tutte le strade piazza et edificii de tempii palazzi giardini et altre fabriche antiche et moderne come si trovano al presente nel pontificato di N. S. Papa Innocentio XI: con le loro dichiarationi nomi et indice copiosissimo disegniata et intagliata 1676 (facsimile), 1931. Etching. Reproduced with the permission of the de Beer Collection, Special Collections, University of Otago, Dunedin, New Zealand
 
Illustrations
Giovanni Battista Falda (1643–1678). Fontana sotto la Trinità dei Monti ("La Barcaccia"), from Le Fontane di Roma nelle piazze e nei luoghi pubblici (Rome: Giovanni Giacomo De Rossi, 1691 or after). Etching. The Metropolitan Museum of Art, New York, Gift of D. W. Langton, transferred from the Library, 1991 (1991.1073.145[15])
 
Giovanni Battista Falda (1643–1678). Fontana del signor principe di Palestrina su la Piazza Barberina, from Le Fontane di Roma nelle piazze e nei luoghi pubblici (Rome: Giovanni Giacomo De Rossi, 1691 or after). Etching. The Metropolitan Museum of Art, New York, Gift of D. W. Langton, transferred from the library, 1991 (1991.1073.145[16])
 
Carlo Rainaldi (1611–1691) and Dominique Barrière (1610–1678). Fête of the Spaniards in Rome in the Year of the Jubilee, ca. 1650. Etching. The Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949 (49.50.270)
 
Gomar Wouters (1649 or 1658–after 1696). Piazza Navona antico circo dell'imperatore Severo Alessandro (Rome: Giovan Domenico De Rossi, 1693). Etching. The Metropolitan Museum of Art, New York, The Harris Brisbane Dick Fund, 1952 (53.601.331)
 
Giovanni Battista Falda (1643–1678). Fontana in Piazza Navona (Fontana dei Quattro Fiumi), from Le Fontane di Roma nelle piazze e nei luoghi pubblici (Rome: Giovanni Giacomo De Rossi, 1691 or after). Etching. The Metropolitan Museum of Art, New York, Gift of D. W. Langton, transferred from the Library, 1991 (1991.1073.145[19])
 
Giovanni Battista Falda (1643–1678). Altra veduta della Fontana in Piazza Navona (Fontana dei Quattro Fiumi), from Le Fontane di Roma nelle piazze e nei luoghi pubblici (Rome: Giovanni Giacomo De Rossi, 1691 or after). Etching. The Metropolitan Museum of Art, New York, Gift of D. W. Langton, transferred from the Library, 1991 (1991.1073.145[20])
 
Giovanni Battista Falda (1643–1678). Fontana in Piazza Navona (Fontana del Moro), from Le Fontane di Roma nelle piazze e nei luoghi pubblici (Rome: Giovanni Giacomo De Rossi, 1691 or after). Etching. The Metropolitan Museum of Art, New York, Gift of D. W. Langton, transferred from the Library, 1991 (1991.1073.145[21])
 
After Giovanni Battista Falda (1643–1678). The Girandola at Castel Sant'Angelo. (Rome: Matteo Gregorio de Rossi, 1692–1702). The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1953 (53.600.3606)
 
Giovanni Battista Bonacina (1620–ca. 1670), after a drawing by Gian Lorenzo Bernini (1598–1680). Portici della Piazza San Pietro in Rome, ca. 1656–67. Engraving. The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1945 (45.82.2[44])
 
Giovanni Battista Falda (1643–1678). Piazza e Portici della basilica vaticana, from Il nuovo teatro delle fabbriche et edificij in prospettiva di Roma moderna (Rome: Giovanni Giacomo De Rossi, 1665–69). Etching. The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund 1931, (31.67.4[1])
 
Giovanni Battista Falda (1643–1678).Veduta di tutta la basilica vaticana, from Il nuovo teatro delle fabbriche et edificij in prospettiva di Roma moderna (Rome: Giovanni Giacomo De Rossi, 1665–69). Etching. The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1931 (31.67.4[53])
 
François Spierre (1639–1681), after Gian Lorenzo Bernini (1598–1680). Cathedram S. Petri in interiore templi fronte, 1666 or after. Engraving. The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1945 (45.82.2[41])
 
Francesco Faraone Aquila (1676–1740), after Gian Lorenzo Bernini (1598–1680). View of the Equestrian Statue of Constantine the Great by Gian Lorenzo Bernini, 1690–1740. Etching. The Metropolitan Museum of Art, New York, Gift of Walter Liedtke, 1991 (1991.1063)
 
Giuseppe Tiburtio Vergelli (active ca. 1690). Canonization of Five Cardinals in Saint Peter's Basilica (Rome: Matteo Gregorio Rossi, 1690). Etching. The Metropolitan Museum of Art, New York, The Harris Brisbane Fund, 1952 (53.601.332)

Bernini

Sculpting in Clay

October 3, 2012–January 6, 2013

Accompanied by a catalogue and an Audio Guide

To visualize lifesize or colossal marbles, the great Roman Baroque sculptor Gian Lorenzo Bernini (1598–1680) began by making small, spirited clay models. Fired as terracotta, these studies and related drawings preserve the first traces of the thought process that evolved into some of the most famous statuary in the city, including the fountains in the Piazza Navona and the angels on the Ponte Sant'Angelo. This exhibition assembles for the first time some fifty of these bozzetti and modelli, as well as thirty chalk or pen sketches alongside three small-scale bronzes and a marble group. Through connoisseurship and a comprehensive campaign of scientific examination, the selection of models addresses the issue of what separates the hand of the master from the production of his large workshop.

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