Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet—surprisingly—there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture showcases portrait sculptures from all phases of the artist’s long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works. Bernini’s portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini’s ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi. Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.

Jonathan has just sold a minor Titian to a museum for a highly inflated price. But as he awaits his cheque trouble erupts: the museum's owner is murdered, an art dealer disappears, and a Bernini bust, smuggled out of Italy, is missing.

British art historian Jonathan Argyll is in sunny Los Angeles conducting some profitable business with the Moresby Museum. Then the museum's owner is murdered and a Bernini bust disappears. And while awaiting the arrival of his friends from the Italian National Art Theft Squad, Jonathan finds himself targeted by the killer...

The Bust of Christ discussed by Prof. Andrea Bacchi in this catalogue is a newly discovered example of the collaboration between Pietro and Gian Lorenzo Bernini. In this bust, possibly his earliest sacred work, we see the first signs of Gian Lorenzo's unequalled genius both as a maker of portraits and as a creator of religious iconography.

Profiles the whirlwind life of the famed Italian sculptor who is known for his artistic and architectural contributions to the city of Rome.

As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.