Summary
Highlights
Bernini's 'David,' created in 1623, is a life-size marble sculpture, standing at 5'7". It represents a significant shift from previous Renaissance interpretations by Donatello and Michelangelo. While earlier Davids depict the moment after or before the conflict with Goliath, Bernini's David is captured in the midst of action, embodying the 'storm' itself. This open form and dynamic pose allows the sculpture to project into space, engaging the viewer and creating a sense of immediate tension, characteristic of Baroque theatricality and the Counter-Reformation's emphasis on drama.
Bernini's 'The Ecstasy of St. Teresa,' located in the Coronaro Chapel in Santa Maria della Vittoria, Rome, was begun around 1645. Commissioned by Cardinal Frederico Cornaro, this work reveals Bernini's background as a playwright and set designer, creating a theatrical scene. The sculpture depicts St. Teresa, a Carmelite nun recently canonized, experiencing a 'delightful anguish' as an angel stabs her with an arrow of divine love. The drama is heightened by golden rays representing heavenly light (enhanced by a real window above), Teresa's swooning expression, and the copious marble used to create a dynamic interplay of light and dark, emphasizing the emotional intensity of the moment of conversion.
The theme of conversion was highly significant during the Catholic Counter-Reformation. This emphasis stems from the teachings of St. Ignatius, who founded the Jesuit order in 1534. Ignatius advocated for the recreation of religious moments, especially those of profound belief and conversion, to increase devotion among the laity. 'The Ecstasy of St. Teresa' serves as a prime example of this Counter-Reformation ideal, aiming to draw people into the church through compelling and dramatic visual narratives. Bernini also included sculpted figures of the Cornaro family on either side of the main scene, observing the event, which further emphasizes the piety of the patrons.