Author:
Avigdor W. G. PosèqThe Hebrew University of Jerusalem, Faculty of Humanities, Institute of Arts and Letters, Mount Scopus, 91905 Jerusalem, Israel

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Summary

While Bernini's architectural designs show the application of the principle of bi-lateral symmetry, in figural painting and sculpture he conceived symmetry rather as a starting point of dynamic movement, which he also associated with his theatrical activity. He was accustomed to reckon with how a mise-en-scène would be seen by the audience, and transferring this approach to his other artistic undertakings he usually defined the laterality of configuration according to the viewer's subjective experience of left and right. In the present study a series of Bernini's portrait scupltures, medals and paintings and scuptural compositions are analysed from this viewpoint.

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Acta Historiae Artium
Language English
French
German
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Size A4
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1953
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per Year
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ISSN 0001-5830 (Print)
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