Angel with the Scourge, Gian Lorenzo Bernini, c. 1667-1668
Gian Lorenzo Bernini, retratoGian Lorenzo BerniniItalia, 1598–1680

Angel with the Scourge

c. 1667-1668 · Sculpture

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¿Dónde está «Angel with the Scourge» hoy? Harvard Art Museums, Gallery 2520, floor 2, European Art, 17th century, Cambridge. Sí, expuesta ahora. Comprobado 29 de septiembre de 2026.

Harvard Art Museums

Cambridge, Estados Unidos

Sala2520, floor 2, European Art, 17th century

Expuesta al público.

Comprobado
En este estado desde
Fuente
El museo

Ficha

Número de inventario
1937.68

En el catálogo

Fuentes

En la vida de Gian Lorenzo Bernini

La vida entera
  1. 1665

    A trip to Paris for Louis XIV

    Under pressure from the French court and Pope Alexander VII, Rome's foremost artist travelled to Paris, where Louis XIV needed an architect to complete the Louvre, and stayed until mid-October; the king assigned Paul Fréart de Chantelou as his companion and translator, and Chantelou kept a detailed journal of the visit.

  2. April – October 1665

    Parisian fame and the court's displeasure

    Admiring crowds followed Bernini through the streets of Paris, and he compared his itinerary to the travelling exhibition of an elephant, but things soon turned sour: apart from Chantelou he made no friends at court, and his frequent criticism of French art together with praise of Italian irritated his hosts; a painting by Guido Reni, he said, was alone worth half of Paris.

  3. 1665

    A ceremony at the foundations of the Louvre extension

    In October 1665, at an elaborate ceremony attended by Bernini and Louis XIV, the already built foundations of the Louvre extension to his design were inaugurated; the extension, however, was never built.

  4. 1667

    The Louvre design is finally rejected

    The designs for the Louvre's east front were formally rejected only in 1667, well after Bernini's departure; Colbert's memos cite not taste but security and comfort, and there was also an undoubted personal conflict, Bernini and the young king each feeling insufficiently respected by the other.

  5. 1667–1669

    The plan for a new apse at Santa Maria Maggiore fails

    His elaborate plan for a new apse of the basilica in which he would later be buried came to an unpleasant end amid public uproar over its cost and the destruction of ancient mosaics it entailed.

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En la misma sala · Gallery 2520, floor 2, European Art, 17th century, Harvard Art Museums

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