This is a sumptuously illustrated book which traces the life and work of Gianlorenzo Bernini. Covering his entire career from his brilliant beginnings to his last mature works, paying particular attention to his techniques in drawing, modelling and carving. It also considers his relationship with patrons and his reputation as an artist through the centuries.

Table of Contents

Preface; Prologue: 'Padre scultore' - Pietro Bernini and his studio; 1. Father and Son: Pietro and Gianlorenzo in partnership; 2. Coming of Age: the first portraits; 3. The Great Mythological Groups: Aeneas, Proserpina and Daphne; 4. The Patronage of Urban VIII Barberini; 5. Popes and Prelates: the mature portraits; 6. Architect to St Peter's: the Baldacchino and Cathedra Petri; 7. The Papal Tombs: Bernini and the Dance of Death; 8. Mystic Vision: the later religious sculpture; 9. 'Friend of the waters': Bernini's Roman fountains; 10. Bernini's Buildings: the sculptor as architect; 11. England and France: Bernini, servant of Kings; 12. Genius of the Baroque: talents and techniques.

About the Author

Charles Avery is a specialist in European sculpture. He was Deputy Keeper of Sculpture at the V&A for twelve years, and a Director of Christie's for ten.

Reviews

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.