Portrait busts and drawings from 17th century sculpture are impressively lifelike.
NOTHING would seem more dull than an exhibition of portrait busts, those stone-faced dust-catchers representing obscure generals, long-dead clergymen, government functionaries and preening aristocrats that one sometimes encounters tucked away in museum hallways or lobbies but rarely in prominent galleries for painting and sculpture. Typically, the sitter’s wearisome vanity outdistances the artist’s skill with a chisel and a drill.
But then there is Bernini — Gian Lorenzo Bernini (1598-1680), the brilliant and prolific sculptor, architect and painter who more or less invented Italian Baroque art. Along the way he also transformed the dreary portrait bust, a tradition largely inert since ancient Rome.