Angel with the Superscription, Gian Lorenzo Bernini, c. 1667 -1668
Gian Lorenzo Bernini, portretGian Lorenzo BerniniWłochy, 1598–1680

Angel with the Superscription

c. 1667 -1668 · Sculpture

Czy można zobaczyć?

Tak, teraz na wystawie

Gdzie jest teraz „Angel with the Superscription”? Harvard Art Museums, Gallery 2520, floor 2, European Art, 17th century, Cambridge. Tak, teraz na wystawie. Sprawdzono 2 listopada 2026.

Harvard Art Museums

Cambridge, Stany Zjednoczone

Sala2520, floor 2, European Art, 17th century

Dostępne dla publiczności.

Sprawdzono
Ten status od
Źródło
Muzeum
Umieść na stronie

Szczegóły

Numer inwentarzowy
1937.67

W katalogu

Źródła

  • Harvard Art Museums
  • Zdjęcie: Harvard Art Museums — © President and Fellows of Harvard College

Z życia: Gian Lorenzo Bernini

Cały życiorys
  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.

Wszystkie dzieła

W tej samej sali · Gallery 2520, floor 2, European Art, 17th century, Harvard Art Museums

Strona muzeum