It is a common, though unfortunate, notion that to see the works of renowned artists such as Michelangelo or Leonardo da Vinci, a trip to Europe is usually essential. But with the current Bernini exhibit at the Getty, viewers are able to see select pieces from one of the finest sculptors of the Baroque period without having to purchase an expensive plane ticket to Italy.
“Bernini and the Birth of Baroque Portrait Sculpture” brings together over 60 works, mostly shipped from Italy, from Gian Lorenzo Bernini, one of the most celebrated sculptors in history and the artist usually credited with defining Baroque (17th-century Italian) art.
The exhibit, running at the Getty until Oct. 26, marks the first exhibition of Bernini in North America, which is not surprising considering his pieces tend to be large, detailed, incredibly valuable and a hassle to ship overseas (most of his more famous works have stayed in Rome).
Bernini’s sculptures are known for their high degree of realism as well as their ability to capture a subject in a spontaneous, natural moment.
Sadly, viewers who are looking for Bernini’s more gargantuan works such as the famous “Ecstasy of Saint Teresa” or his “Apollo and Daphne” will be disappointed. Many of the pieces do not extend beyond the shoulders of the sitter, with the largest piece being the upper torso of Pope Clement X, so large that it has to be fastened to the wall.
What this particular exhibition does showcase is Bernini’s portrait busts, which were integral to his climb to fame. Though they are smaller in scale, they are rendered in such incredible detail and realism that the figures almost seem to transcend their stony barriers.
Highlights of the exhibit include a bronze replica of Louis XIV, a noble image of elaborately coiffed hair and flowing drapery that looks real to the touch. It is almost as if there is a breeze in the room.
Another piece worthy of mention is the “Portrait of Costanza Bonarelli.” Considered one of the most remarkable portrait busts in history, it captures the female sitter (Bernini’s lover at the time) with her lips parted, as if startled.
With this informal and natural portrayal of its subject, the bust exudes an energy so great that one almost believes that, at any moment, the viewer will hear a gasp escape those lips.
The exhibit also provides a rare look into the methods that Bernini and his contemporaries used to construct their works. An area of the exhibit contains the tools which sculptors of the time would have used to successfully construct a sculpture.
Complete with a video demonstrating how such tools were used, the exhibit inspires a feeling of awe and reverence to Bernini (and by extent, sculptors in general), who was able to create minute details such as embroidery, lacework and ear cartilage just by using hammers, nails and files.
“Bernini and the Birth of Baroque Portrait Sculpture” perfectly illustrates, through these lesser-known works, why the city of Rome is so thoroughly decorated with Bernini’s sculptures.
He not only captured the image of the subject, but through his masterful rendering of details and emotions, he was able to capture the soul and encase it in stone.
Of course, the evil of this exhibit is that upon reaching the end, viewers may realize that the portrait busts are only a small percentage of the many sculptures that defined Bernini’s career. It is then that taking that much-needed trip to Italy becomes a distinct, though expensive, possibility.
““ Diep Tran
E-mail Tran at dtran@media.ucla.edu.