{Baroque Sculpture [continued (6)]}[8th May 1991]

[Redbook9:299][19910508:0903f]{Baroque Sculpture [continued (6)]}[8th May 1991]

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‘Bernini's art was the basis of all Baroque sculpture, but his example was not always followed, and the work of his more restrained contemporaries, such as Alessandro Algardi (relief of “Meeting of Attila and Pope Leo Leo”, (1646-53[ce], St. Peter's, Rome) and the Fleming François Duquesnoy. attracted more approval from theorists of art. The latter’s “St. Susanna” in Sta. Maria di Loreto in Rome, a figure after the antique but enlivened with Berninian textures, was originally made to look towards the observer and, with a gesture, to direct his attention towards the altar.

The distinction between art and life that the Mannerists had cultivated was banished by this active participation of the statue in the viewer's space, another important innovation of Bernini.

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*– [From] Encyclopaedia Britannica 27:98-100

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