Abstract
The writer discusses Pietro Bernini's engagement with the paragone, or the comparison of painting and sculpture, via an examination of the artist's relief sculpture. Paragone was one of the most widely discussed subjects in 16th-century theoretical literature. The writer contends that, notwithstanding the lack of theoretical pronouncements from him, Pietro was deeply informed by art theory. He goes on to examine the concept of paragone with respect to a range of Bernini's reliefs. Arguing that throughout his career, Pietro's works show an inventive and novel approach to the problems of relief sculpture and serve as eloquent testimony to his highly original theoretical reflection, he demonstrates how the paragone, as it concerned relief sculpture, was for the artist at once an inspiration, a challenge, and a conceptual factor in the creation of his reliefs.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.