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The Baroque sculptor and architect Gian Lorenzo Bernini was born in Naples on December 7, 158 in Naples, son of the Florentine painter and sculptor Pietro Bernini. In 1605 Pietro Bernini, Angelica Galante, and Gian Lorenzo

Bernini moved to Rome. Bernini started making art at a very young age. According to Filippo Baldinucci Bernini made his first sculpture at the age of eight. From his Florentine father he inherited his innate facility in

wielding a chisel, in shaping stone as though it were as “malleable as wax” or “pliable as pasts”; perhaps it was from his Neapolitan mother that he derived his volcanic personality and dramatic flair- “fiery in temperament, constant in work, and passionate in his wrath,” said Filippo’s son Domenico (Scribner). Bernini spent years drawing copies of classical masterpieces

(Scribner). Carracci, Caravaggio, Laocoon, Pietro Bernini, and Michelangelo influenced Bernini.

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Berninis first patron was the nephew of Pope Paul V, Cardinal Scipio Borghese, for whom he executed the four famous sculpture groups in the Borghese Gallery. The most famous of the four is his David. David defeated the giant Goliath with stone and a sling. There were artists before Bernini that took on the task of sculpting a David. The most considerable are Donatello, Verrocchio, and Michelangelo. Although they all sculpted David, the sculptures are drastically different from one another. Each one is unique in its own certain way.

Baroque art desired to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations (ibiblio). Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts (ibiblio). Many of these Baroque qualities are present in Bernini’s David. Donatello and

Verrocchio depicted David at rest after he killed Goliath, Michelangelo, by contrast, presented David before the battle, with the tension and emotion evident in every vein and muscle. Bernini does not depict David before or

after the fight. Instead, he shows him in the process of the fight. This represents the element of time in his work. The views are forced to complete the action that David has begun for us.

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