Bernini (Penguin Art and Architecture) by Howard Hibbard  (3)
$10.20
|
Borromini by Anthony Blunt  (2)
$19.50
|
Bernini by Rudolph Wittkower (3)
|
Basilica: The Splendor and the Scandal: Building St. Peter's by R. A. Scotti (28)
$4.99
|
Italian Architecture from Michelangelo to Borromini: From Michelangelo to Borromini (World of Art) by Andrew Hopkins
$11.96
|
This item is not eligible for Amazon Prime, but millions of other items are. Join Amazon Prime today. Already a member? Sign in.
|
|||||||||||||
Customers Who Bought This Item Also Bought
Editorial Reviews
From Publishers Weekly
Sometimes plodding but often entertaining, this dual biography of two Italian Baroque artists popularizes a tale familiar to art historians. Raised in a wealthy family with connections to politicians and cultural players, Bernini (1598–1680) was 12 when he was commissioned to do his first major piece—and he soon learned how to win the hearts and pocketbooks of rich patrons on his own. Borromini (1599–1667) lacked such connections, but climbed the guild's ladder, eventually becoming chief assistant to Carlo Maderno, the chief architect of St. Peter's. When Maderno died in 1629, Borromini was shocked that Bernini was named chief. Morrissey (A Weekend at Blenheim) finely renders the intense rivalry between these two artists, giving a reasonable if fact-heavy look at 17th-century Roman life in the process. Borromini elected to work for Bernini, but tensions soon led to a break; Bernini went on to complete the Scala Regia and the Cathedra Petri; Borromini found fewer and fewer commissions and eventually killed himself. The book doesn't do justice to the varying levels of ambition, engagement and achievement Morrissey finds in these figures, but it does an adequate job sketching their contours. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Among Rome's many splendid churches, two of them only 300 yards apart--Sant'Andrea and San Carlos--have dazzled visitors with their beautiful but sharply contrasting types of architectural brilliance. Morrissey here tells the remarkable story of the two seventeenth-century geniuses behind these two churches--collaborators and rivals, united by a deep love for the Eternal City, divided by diverging personalities and imaginative visions. As Morrissey recounts the intertwined lives of Gianlorenzo Bernini and Francesco Borromini, readers see how two very different minds worked together to create a new artistic style (the baroque) but then turned against each other in the fierce competition for commissions and acclaim. By skillfully gauging and then exceeding others' expectations, Bernini adroitly curried favor with the patrons and clerics who employed him. By truculently resisting the slightest intrusions upon his artistic prerogatives, Borromini alienated even many admirers of his greatest achievements--and consequently ended his frustrated life as a suicide. A highly successful double biography. Bryce Christensen
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
Sometimes plodding but often entertaining, this dual biography of two Italian Baroque artists popularizes a tale familiar to art historians. Raised in a wealthy family with connections to politicians and cultural players, Bernini (1598–1680) was 12 when he was commissioned to do his first major piece—and he soon learned how to win the hearts and pocketbooks of rich patrons on his own. Borromini (1599–1667) lacked such connections, but climbed the guild's ladder, eventually becoming chief assistant to Carlo Maderno, the chief architect of St. Peter's. When Maderno died in 1629, Borromini was shocked that Bernini was named chief. Morrissey (A Weekend at Blenheim) finely renders the intense rivalry between these two artists, giving a reasonable if fact-heavy look at 17th-century Roman life in the process. Borromini elected to work for Bernini, but tensions soon led to a break; Bernini went on to complete the Scala Regia and the Cathedra Petri; Borromini found fewer and fewer commissions and eventually killed himself. The book doesn't do justice to the varying levels of ambition, engagement and achievement Morrissey finds in these figures, but it does an adequate job sketching their contours. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Among Rome's many splendid churches, two of them only 300 yards apart--Sant'Andrea and San Carlos--have dazzled visitors with their beautiful but sharply contrasting types of architectural brilliance. Morrissey here tells the remarkable story of the two seventeenth-century geniuses behind these two churches--collaborators and rivals, united by a deep love for the Eternal City, divided by diverging personalities and imaginative visions. As Morrissey recounts the intertwined lives of Gianlorenzo Bernini and Francesco Borromini, readers see how two very different minds worked together to create a new artistic style (the baroque) but then turned against each other in the fierce competition for commissions and acclaim. By skillfully gauging and then exceeding others' expectations, Bernini adroitly curried favor with the patrons and clerics who employed him. By truculently resisting the slightest intrusions upon his artistic prerogatives, Borromini alienated even many admirers of his greatest achievements--and consequently ended his frustrated life as a suicide. A highly successful double biography. Bryce Christensen
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
Product Details
Would you like to update product info or give feedback on images?
|
|
Inside This Book Citations: This book cites 34 books Explore: Citations | Books on Related Topics | Concordance | Text Stats Key Phrases - CAPs: San Giovanni, San Carlino, San Carlo, Piazza Navona, Donna Olimpia (more) Browse Sample Pages: Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me! |
||