page_title: Baroque sculpture
hierarchical_section_title: Baroque sculpture
caption_attribution_description: Deutsch: Rom, Santa Maria della Vittoria, Die Verzückung der Heiligen Theresa (Bernini)English: The Ecstasy of St. Theresa by Gianlorenzo Bernini (1652). Left transept of Santa Maria della Vittoria (17th century) in Rome.Italiano: L'Estasi di Santa Teresa Gianlorenzo Bernini (1652). Transetto occidentale di Santa Maria della Vittoria (XVII secolo) Roma.Français&#160;: L'extase de sainte Thérèse du Bernin (1652). Croisillon gauche de l'église Santa Maria della Vittoria (XVIIe siècle) à Rome.Español: El éxtasis de Santa Teresa Gianlorenzo Bernini (1652). Transepto occidental de Santa Maria della Vittoria (siglo XVII) Roma.
context_page_description: Baroque sculpture is the sculpture associated with the Baroque style of the period between the early 17th and mid 18th centuries. In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms—they spiralled around an empty central vortex, or reached outwards into the surrounding space. Baroque sculpture often had multiple ideal viewing angles, and reflected a general continuation of the Renaissance move away from the relief to sculpture created in the round, and designed to be placed in the middle of a large space—elaborate fountains such as Bernini's Fontana dei Quattro Fiumi, or those in the Gardens of Versailles were a Baroque speciality. The Baroque style was perfectly suited to sculpture, with Gian Lorenzo Bernini the dominating figure of the age in works such as The Ecstasy of St Theresa. Much Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains, or fused sculpture and architecture to create a transformative experience for the viewer.
context_section_description: Baroque sculpture is the sculpture associated with the Baroque style of the period between the early 17th and mid 18th centuries. In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms—they spiralled around an empty central vortex, or reached outwards into the surrounding space. Baroque sculpture often had multiple ideal viewing angles, and reflected a general continuation of the Renaissance move away from the relief to sculpture created in the round, and designed to be placed in the middle of a large space—elaborate fountains such as Bernini's Fontana dei Quattro Fiumi (Rome, 1651), or those in the Gardens of Versailles were a Baroque speciality.  The Baroque style was perfectly suited to sculpture, with Gian Lorenzo Bernini the dominating figure of the age in works such as The Ecstasy of St Theresa (1647–1652). Much Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains, or fused sculpture and architecture to create a transformative experience for the viewer.  Artists saw themselves as in the classical tradition, but admired Hellenistic and later Roman sculpture, rather than that of the more "Classical" periods as they are seen today.
  Baroque sculpture followed Renaissance and Mannerist sculpture and was succeeded by Rococo and Neoclassical Sculpture. Rome was the earliest centre where the style was formed.  The style spread to the rest of Europe, and especially France gave a new direction in the late 17th century.  Eventually it spread beyond Europe to the colonial possessions of the European powers, especially in Latin America and the Philippines.
  The Protestant Reformation had brought an almost total stop to religious sculpture in much of Northern Europe, and though secular sculpture, especially for portrait busts and tomb monuments, continued, the Dutch Golden Age has no significant sculptural component outside goldsmithing. Partly in direct reaction, sculpture was as prominent in Catholicism as in the late Middle Ages. Statues of rulers and the nobility became increasingly popular. In the 18th century much sculpture continued on Baroque lines—the Trevi Fountain was only completed in 1762. The Rococo style was better suited to smaller works.
caption: The Ecstasy of St Theresa (1647–1652) Gian Lorenzo Bernini
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