From Library Journal
Wittkower's (1901-71) book, first published in 1955 and updated in 1966 and 1981, derives from an Italian edition of 1900. The text, which deals chiefly with the sculptures of this multifaceted Italian artist (1598-1680), is a classic. Though some of the entries have been updated and some new plates added, the main reason for this new edition seems to be its first issuance in paperback. This, and the fact that the color plates are less than stellar, mean that all but advanced art history collections can safely pass on this edition if they have earlier ones. Avery's book takes a broader look at Bernini, covering sculpture, drawings, models in terra cotta, urbanistic projects such as fountains, and his work for St. Peter's and other Roman churches. The color photographs are better than those in the Phaidon book, where they are separate from the text; neither title offers uniformly better black-and-whites. Avery (sculpture, Victoria and Albert Museum) writes well, offers more context and comparative illustrations, and draws on material unavailable to Wittkower in shaping his text. Avery is the choice for all but the most scholarly of collections, which will want both titles.?Jack Perry Brown, Art Inst. of Chicago Lib.Copyright 1998 Reed Business Information, Inc.

FROM THE PUBLISHER

Gian Lorenzo Bernini (1598-1680) was the greatest and most influential sculptor of his age. Endlessly inventive and gifted with extraordinary technical skill, he virtually created the Baroque style. In his religious sculptures he excelled at capturing movement and extreme emotion, uniting figures with their setting to creat a single conception of overwhelming intensity that perfectly expressed the fervour of Counter-Reformation Rome. Intensity and drama also characterize his mythological groups, his remarkable portraits and his world-famous Roman fountains.

FROM THE CRITICS

Library Journal