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| Assumption of St Catherine
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| 1667 Marble Santa Catarina da Siena a Magnapoli, Rome Caffa was the best of Bernini's followers. His relief of the Sienese mystic stands in direct relationship to Bernini's Ecstasy of St Theresa and would have been unthinkable without it. A pupil of Ferrata, Caffa directly established himself through his models and drawings, and even Bernini let it be known that the younger man had overtaken him in his art. Caffa's sculpture reinvented the aesthetic qualities of Bernini's late style in new terms, thereby establishing a bridge between High and Late Baroque sculpture. This is seen most clearly in the Ecstasy of St Catherine of Siena in the Dominican convent of Santa Caterina da Siena a Magnapoli in Rome.
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| Painting ID:: 62408
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unknow artist
Assumption of St Catherine
1667 Marble Santa Catarina da Siena a Magnapoli, Rome Caffa was the best of Bernini's followers. His relief of the Sienese mystic stands in direct relationship to Bernini's Ecstasy of St Theresa and would have been unthinkable without it. A pupil of Ferrata, Caffa directly established himself through his models and drawings, and even Bernini let it be known that the younger man had overtaken him in his art. Caffa's sculpture reinvented the aesthetic qualities of Bernini's late style in new terms, thereby establishing a bridge between High and Late Baroque sculpture. This is seen most clearly in the Ecstasy of St Catherine of Siena in the Dominican convent of Santa Caterina da Siena a Magnapoli in Rome.
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Related Paintings to unknow artist :.
| Carrucofamiliares | The race of the wild horses | Fire in the San Marcuola | Study of Beeches | Pejzaz |
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