Word: bernini
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...instant before it happened, one camera's eye caught a tableau that might serve as the late 20th century's most succinct text on the metaphysics of terrorism. There, on a mellow May afternoon at St. Peter's Square, beneath the encircling Bernini columns, the most vigorously gregarious of Popes rides slowly through a sea of tourists and pilgrims. It is a rite of sweet human communion. The Pope reaches out for babies in the crowd. He gently blesses the faces that give back a radiant daze of whatever it is that they...
...supply lasts, are still needed by those who wish to occupy the rows of chairs and benches set up in front of the central obelisk facing the basilica. Large areas of the immense 20-acre square, however, are left open for anyone who can jam in through the encircling Bernini colonnade that the architect likened to arms of the church reaching out in love to embrace the world...
...horseback monument to the Milanese warrior Gian Giacomo Trivulzio, he took them as his starting point, varying their massive poses and calm, advancing gait in numerous drawings, five exquisite examples of which are in the Met show. Only when the 17th century-under the influence of Rubens and Bernini-demanded more intricate, twisting, rearing, active poses for the horse in art did the pervasive influence of these creatures decline. Yet even then it was soon to be revived in the 18th century by the great Venetian neoclassicist Antonio Canova...
...their absorption. Moreover, it was wedded to the ideal of revolution. The energies of radical politics had called forth an equally radical state art. Many of its makers believed that they were at the climax of history, the establishment of the Marxist millennium; their faith was as absolute as Bernini's Catholicism...
...still unquestioned, and to change the language of sculpture was, at least potentially, an act of real cultural and moral significance. In those 40 years, the language of sculpture underwent the most searching revision it had had, perhaps in its whole history, and certainly since the time of Bernini and his followers in the 17th century. It moved, to put it roughly, from the lump to the web: from closed mass to open, constructed form. What happened to it then is set forth in a beautifully chosen, concise exhibition called "The Planar Dimension: Europe, 1912-1932," organized by Curator Margit...