who is the artist of the baroque sculpture the ecstasy of st. teresa
Note: In creating his Ecstasy of Saint Teresa it is almost certain that Bernini made use of styles initiated by certain Mannerist artists. For example, we can see the basis for Bernini’s masterpiece in the simple piety, floating drapery and heavenward gaze of the Beata Michelina (1606, Pinacoteca Vaticana, Rome), a painting by the influential Mannerist religious painter Federico Barocci (1526-1612).
Meaning of Ecstasy of Saint Teresa
The Ecstasy of Saint Teresa (alternatively Saint Teresa in Ecstasy or Transverberation of Saint Teresa; in Italian: L’Estasi di Santa Teresa or Santa Teresa in estasi) is the central sculptural group in white marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. It was designed and completed by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the Chapel in marble, stucco and paint. It is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. It depicts Teresa of Ávila.
Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. [a] The selected site for the chapel was the left transept that had previously held an image of ‘St. Paul in Ecstasy’, which was replaced by Bernini’s dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622.  It was completed in 1652 for the then princely sum of 12,000 scudi. [b]
Located above the altar of the Cornaro Chapel in Rome’s Santa Maria della Vittoria, Bernini’s The Ecstasy of St. Teresa represents an episode from the life of the saint as recorded in her spiritual autobiography. Teresa describes an angel carrying a fire-tipped spear with which he pierces her heart repeatedly, an act that sends her into a state of spiritual rapture. “The pain,” she writes, “was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one’s soul then content with anything but God.” (The Life of Saint Teresa of Ávila by herself, Chapter 29)
Bernini’s sculptural group shows a cupid-like angel holding an arrow. His delicate touch and lithe figure give him an air of grace. With her head thrown back and eyes closed, Teresa herself collapses, overcome with the feeling of God’s love. Her physical body seems to have dematerialized beneath the heavy drapery of her robe. Twisting folds of fabric energize the scene and bronze rays, emanating from an unseen source, seem to rain down divine light. The combined effect is one of intense drama, the ethereality of which denies the true nature of the work of art. Despite being made of heavy marble, saint and angel—set upon a cloud—appear to float weightlessly.
Ecstasy of St. Teresa
Although controversial, Teresa’s ecstatic response to the piercing love of God is very naturalistic. Bernini is said to have captured many different passions and emotions in this single piece, including pain and pleasure (Martin 104). He no doubt brings to the real world a very limitless and spiritual world. This threshold, along with the concepts of light, naturalism, and dynamism make this sculpture truly representative of the Baroque period.
The Ecstasy of St. Theresa is considered by many as the apogee of Bernini’s oeuvre and is notable for the following qualities;
Gian Lorenzo Bernini