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219:, with whom he fell in love when her husband was working as Bernini's assistant in 1636. During his encounters with Bonarelli, Bernini decided to spend some of his free time stalking Bonarelli. Later, Bernini discovered his brother, Luigi, had also been having an affair with Costanza. With the frustration that Luigi has shown against Bonarelli during the feud, it created tension and led to Bernini assaulting his brother. Bernini then decided to barge into the home of his brother and attempt to assault and murder him; the assault involved one of his servants attacking Luigi with a knife and a blunt object. Bernini was also known to hold a sword during the attack where he willingly used it to strike his brother down.
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Bernini was able to shape the facial expression of
Costanza; the features that the bust has, as well as the light and darkness the statue has produced within the work, the appearance within the artwork suggests that Bernini stays true to the figure as well as an accurate representation of the figure. As Bernini put more details into the facial expression, he gave Costanza a slightly opened lip within the emotion of the sculpture's face, representing the realism within the piece, as well as how it shows the head bust exemplifying the feeling of the subject of the work.
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certain person he once knew. The bust created by
Bernini was made in order to remember Costanza Bonarelli, a woman he had once loved, as well as preserving the life of the that specific person in time. In an accumulation of facial traits, as well as sculpting the entirety of the statue head, the artists conveys us a memory of his past time;
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was not related to Church patronage, but instead represents someone
Bernini remembered from his past; this person was related to his personal life outside his work, as well as a woman he once loved. This sculpture was also not commissioned by anyone, but was created as his own personal work instead.
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is the emotions evident on the face. The details within the sculpture were well developed and included multiple incisions and cuts in order to add accuracy and detail to the sculpture piece, such as folds and frills within the clothing or hair within the bust of the person. With these details added,
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Bernini had a direction in making this particular artwork. Bernini's thoughts towards this work involves his affection for a certain women though his time. Other than his interest towards
Costanza Bonarelli, the portrait bust was created by Bernini in order to shape the experience and memory of a
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was an artwork that introduced numerous elements from the
Baroque style; the bust feels light weighted, and the hair and clothing exude a presence of energy and life. Bernini managed to portray some good qualities in creating the bust, such as adding the clothed drapery on the subject. Other than
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eventually released him from his fines due to his reputation with the church and the relationship with the pope. Years after the affair, and after a conversation with the pope, Bernini decided to move on from
Costanza Bonarelli and marry another woman named Caterina Tezio instead; he made sure he
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was another sculpture that not only emphasized drapery work, but the drapery also had more detail within the folds as well. The arrangement of this bust's clothing seems to give the subject more life, making the figure of the bust look more realistic.
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This is what makes this bust different compared to other busts
Bernini has created; the busts he would create would normally involve important figures of high class or other important people.
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Later on, Bernini was punished and was fined three-thousand scudi for homicide against his brother during the affair;
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Soussloff, Catherine M. (1987). "Old Age and Old-Age Style in the 'Lives' of
Artists: Gianlorenzo Bernini".
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520:"Gian Lorenzo Bernini | Biography, Style, Sculptures, Architecture, Paintings, & Facts | Britannica"
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would commit to his work, as well as his family and faith for the remainder of his years as an artist.
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that was created, Bernini has incorporated similar drapery work to several other sculptures as well.
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Looking at a collection of
Bernini's busts, most of them would end up having religious themes.
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Mormando, Franco (2012). "Review of
Bernini's Beloved: A Portrait of Costanza Piccolomini".
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was made as a personal artwork, rather than a commission from someone else.
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Raatschen, Gudrun (1996). "Plaster Casts of Bernini's Bust of Charles I".
195:. Considered among the most personal of Bernini's works, the bust is of
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605:"Bernini Sculptures - A Look at the Best Gian Lorenzo Bernini Statues"
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One example that has a similar emphasis towards drapery work would be
433:. In Delbeke, Maarten; Levy, Evonne Anita; Ostrow, Steven F. (eds.).
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during the 1630's. The piece is currently being shown in the
628:"Bernini and the birth of Baroque portrait sculpture".
660:"McPhee Reveals the Woman Behind Bernini's Sculpture"
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The Goat Amalthea with the Infant Jupiter and a Faun
686:"Bust of Costanza Bonarelli by Gian Lorenzo Bernini"
495:"Costanza Bonarelli, Gianlorenzo Bernini (c1636-37)"
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276:Another aspect that Bernini has included in the
256:This Bust was made to commemorate King Charles I
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431:"Costanza Bonarelli: Biography versus Archive"
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357:(4th ed.). Phaidon Press. p. 256.
1111:Busts of Paolo Giordano and Isabella Orsini
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162:Busts of Paolo Giordano and Isabella Orsini
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355:Bernini: the sculptor of the Roman Baroque
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666:. Vol. 94, no. 32. p. A2.
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570:Puu, Tönu (2015). "Perfection in Art".
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985:Bust of Cardinal Escoubleau de Sourdis
943:Bust of Alessandro Peretti di Montalto
658:Moretti, Rebecca (30 September 2013).
437:. Penn State Press. pp. 315–376.
435:Bernini's Biographies: Critical Essays
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334:List of works by Gian Lorenzo Bernini
1361:Equestrian Statue of King Louis XIV
1185:Confessio of Santa Francesca Romana
1090:Tomb of Countess Matilda of Tuscany
971:Bust of Cardinal Roberto Bellarmine
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306:Another Angle of Costanza Bonarelli
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636:(10): 46–5440–46-5440. June 2009.
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493:Jones, Jonathan (8 August 2003).
978:Bust of Cardinal Giovanni Dolfin
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16:Sculpture by Gianlorenzo Bernini
1457:Fountains of St. Peter's Square
1287:Saints Jerome and Mary Magdalen
1164:Memorial to Alessandro Valtrini
999:Bust of Cardinal Melchior Klesl
887:Bust of Carlo Antonio del Pozzo
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1521:Saint Andrew and Saint Thomas
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1507:Self-Portrait as a Young Man
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1034:Memorial to Carlo Barberini
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603:artincontext (2021-10-02).
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88:72 cm (28 in)
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1612:Marble sculptures in Italy
1447:Palazzo di Propaganda Fide
1386:Tomb of Pope Alexander VII
1379:Blessed Ludovica Albertoni
1245:Bust of Francesco I d'Este
1157:Bust of Cardinal Richilieu
1104:Bust of Costanza Bonarelli
992:Bust of Antonio Cepparelli
929:Charity with Four Children
724:Bust of Costanza Bonarelli
353:Wittkower, Rudolf (1997).
315:Looking back at Bernini's
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1577:Luigi Bernini (brother)
1572:Pietro Bernini (father)
1462:Fontana della Barcaccia
1305:Statue of Alexander VII
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1178:Memorial to Maria Raggi
1055:Sleeping Hermaphroditus
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915:Bust of Pope Gregory XV
690:www.thehistoryofart.org
545:The Burlington Magazine
1567:Domenico Bernini (son)
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1273:Habakkuk and the Angel
1199:Truth Unveiled by Time
1125:Bust of King Charles I
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429:McPhee, Sarah (2006).
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265:. The Bust of Charles
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1280:Chair of Saint Peter
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761:Gian Lorenzo Bernini
726:at Wikimedia Commons
574:. pp. 119–157.
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1266:Daniel and the Lion
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589:978-3-662-44129-9
551:(1125): 813–816.
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364:978-0-7148-3715-4
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1059:(mattress)
695:2023-05-11
672:1439091458
614:2023-05-11
529:2023-03-29
340:References
272:Expression
85:Dimensions
1495:Paintings
777:Sculpture
416:164205791
373:777304255
72:Sculpture
61:Catalogue
53:1636–1637
49:1636–1637
668:ProQuest
328:See also
285:Contrast
236:Clothing
189:Florence
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93:Location
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231:Style
193:Italy
175:is a
584:ISBN
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439:ISBN
369:OCLC
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