Bernini: Sculpting in Clay

Today I will be reviewing Bernini: Sculpting in Clay, a book recently published by The Metropolitan Museum of Art and distributed by Yale University Press.

Gian Lorenzo Bernini was one of the greatest sculptors in the history of art and, arguably, second only to Michelangelo Buonarroti. He was the father of the baroque style which emphasized motion and drama in sculpture, painting and architecture.

With essays by C.D. Dickerson III, Anthony Sigel, and Ian Wardropper this volume explores Bernini's clay "sketches" or bozzetti as they were known. Richly illustrated, Bernini delves into the working methods of the great sculptor, giving us a glimpse into how many of his iconic marbles evolved from conception through sketches on paper, clay sketches, and life-size clays.

Gian Lorenzo Bernini, Study for Daniel, ca 1655. Red chalk.

Gian Lorenzo Bernini, Study for Daniel, ca 1655. Red chalk.

Gian Lorenzo Bernini, Daniel in the Lion's Den, ca 1655. Terracotta.

Gian Lorenzo Bernini, Daniel in the Lion's Den, ca. 1655-57. Marble, over life-size.

The illustrations are wonderful, with many detailed photos of the clay bozzetti which allow you to inspect the tool-marks left in the clay and even Bernini's fingerprints. Several x-radiograph photos let you see inside the clays to understand how the structures were formed.

Gian Lorenzo Bernini, Model for the Fountain of the Moor, ca 1653. Terracotta.

Detail.

Detail.

Detail.

X-radiograph. Note hollowed head and torso, solid shell and base.

Fountain of the Moor, 1653-55. Marble, over life-size. Piazza Navona, Rome.

There is something magical in Bernini's best sculpture, an expressive motion which he was able to translate from drawing, to clay bozzetta, to finished marble; no easy feat, considering how elusive the gesture is at any one of these stages.

Gian Lorenzo Bernini, Saint Teresa in Ecstasy, ca. 1647. Terracotta.

Gian Lorenzo Bernini, Saint Teresa in Ecstasy, 1647-52. Marble, life-size.

Anyone interested in Bernini, renaissance sculpture, or the working methods of sculptors will enjoy this large, high quality book. A fascinating read.

Watteau: The Drawings Review

On the Cover
Detail of cat. 73

Detail of Three Bust-length Studies of Women (1718-19) 

Seated Male Figure Holding a Staff.
Red chalk on cream paper.

Semi-nude Man, Seen in Three-quarter View and Turned to the Left, Lifting a Glass.
Red black and white chalks on beige paper.

Seated Young Woman Holding a Basket in Her Left Hand.
Red, black and white chalks on beige paper.

Detail of Head of a Boy and Two Half-length Studies of a Flute-player.
Red, black and white chalks on buff-coloured paper.

Jean-Antoine Watteau (1684-1721) was one of France's greatest draftsmen. He had the ability to capture a natural gesture and used a light, subtle line. He was very adept with the trios crayons technique which uses red, black and white chalks to portray the value ranges. He has always been considered a better draftsmen than a painter (a belief he, himself, shared).

Watteau The Drawings was published by The Royal Academy of Arts, London in 2011. The book itself is of good quality and the reproductions well done. There is a good selection of subject matter and it will make a good addition to my collection.

On the matter of Watteau, himself, and where he ranks in my personal hierarchy of histories draftsmen? Probably only mid-range in my top 20. He certainly doesn't break into the top 5. Of course, he died at the age of 37 (the same age at which Raphael passed away). It would be very interesting to see how his drawing might have matured if he had only lived longer.