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 (bər-nē′nē, bĕr-), Giovanni Lorenzo or Gianlorenzo 1598-1680.
Italian sculptor and architect. A master of the baroque style, he is noted for his flowing, dynamic sculpture, such as Apollo and Daphne (1622-1624), and his designs for many churches, including portions of Saint Peter's Basilica in Rome.


(Italian berˈnini)
(Biography) Gian Lorenzo (dʒan loˈrɛntso). 1598–1680, Italian painter, architect, and sculptor: the greatest exponent of the Italian baroque


(bərˈni ni)

Giovanni or Gian (dʒɑn) Lorenzo, 1598–1680, Italian sculptor, architect, and painter.
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Noun1.Bernini - Italian sculptor and architect of the baroque period in ItalyBernini - Italian sculptor and architect of the baroque period in Italy; designed many churches and chapels and tombs and fountains (1598-1680)
References in periodicals archive ?
Emilio Retrosi's publication Per il terzo centenario della nascita di Gianlorenzo Bernini architetto e scultore sommo (Tipografia V.
Gianlorenzo Blengini, coach of Italy said that "Victories are always important, not just for the score or for the ranking, but because they give energy to the team and they confirm the work that has been done during the trainings.
Besides critiquing de Lubac's attempt to rehabilitate the Augustinianism associated with Enrico Noris and Gianlorenzo Berti, Lonergan concedes that the hypothesis of a "state of pure nature" is a "marginal theorem," even while disputing the late Scholastic arguments from the gratuity of grace and the freedom of God.
It was thus obvious to any viewer of the Exposicion," Pilar continues, "that Isabelo Tampinco was the Philippines' premier maestro of sculpture, who had filled up the ceilings, walls and columns of churches, palaces and houses in his country with elegant sculptures and architectural ornaments, masterpieces that had brought him in comparison with the titans of European sculpture, his idols Michelangelo and Gianlorenzo Bernini.
Dickerson III of the Kimbell Museum in Fort Worth acquired a missing masterpiece by Gianlorenzo Bernini for his collection, he teamed with Metropolitan Museum sculpture curator (now director of the Frick Collection) Ian Wardropper to make it the cornerstone (and cover image) of this exhibition.
Examples of ingenuity are too numerous to enumerate in a short presentation; it should suffice to mention the historically, technically, and artistically diverse select, short list of geniuses of Apollodorus of Damascus (2nd century AD), Abbot Suger (12th century), Villard de Honnecourt (13th century), Filippo Calendario (14th century), Leonardo da Vinci (15-16111 centuries), Raphael Santi (16th century), Gianlorenzo Bernini (17th century), Nicolai Eigtved (aka Niels Madsen) and Domenico Merlini (18th century), Bela Lajta and Adolf Lang (19th-20th centuries), Frank Lloyd Wright (early 20th century), Renzo Piano (20th-21st centuries), Zygmunt Skibniewski (20th century), Frank Gehry (20th-21 centuries), and many others.
Gianlorenzo Bernini e Clemente IX Rospigliosi: Arte e architettura a Roma e in Toscana nel Seicento.
Alessandro Bacuzzi, Gianlorenzo Dionigi, Andrea Del Bosco, Giovanni Cantone, Tommaso Sansone, Erika Di Losa, Salvatore Cuffari.
For too long, the architectural accomplishments of Pietro Berrettini da Cortona (1597-1669), widely acknowledged as a leading painter and decorator in Rome (and Florence) from the 1630s-60s, have been eclipsed by the more spectacular achievements of his contemporaries, Gianlorenzo Bernini and Francesco Borromini.
The Angels and Demons tour takes you round various sites that in the novel are alleged to have been put there by the mysterious Illuminati, a secret sect of anti-Christian scientists and philosophers, which included people like Galileo and Gianlorenzo Bernini, whose architecture of course almost defines Rome.
The origins of the Baroque can be traced back to papal Rome in the early part of the 17th century and to the great triumvirate of the style's pioneers: Gianlorenzo Bernini, Francesco Borromini and Pietro da Cortona, whose works in architecture, painting and sculpture established the principal characteristics of the style.