who is the artist of the ecstasy of st. teresa
I saw in his hand a long spear of gold, and at the iron’s point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying. 
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]
Figure 3. The patron, Federico Cornaro, is 2nd from the right
This is her description of the event that Bernini depicts:
The Ecstasy of St. Teresa
Artist / Origin: Gian Lorenzo Bernini (Italian, 1598–1680)
Period: 1400 CE – 1800 CE
Material: Marble, stucco, and gilt bronze
Dimensions: H: 11 ft. 6 in. (3.5 m.)
Location: Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy
Credit: Courtesy of SCALA/Art Resource, NY
Boucher, Bruce. Italian Baroque Sculpture. London: Thames & Hudson, 1998.
By the time she reached her forties, Theresa had settled down to her new spiritual life, when one day, while praying and singing the hymn “Veni Creator Spiritus,” she experienced the first of the episodes that would accompany her for the rest of her life: a rapture.
Gian Lorenzo Bernini
Sculptures by Bernini can be seen in some of the best art museums and sculpture gardens around the world.
One of the greatest sculptures from the era of Baroque art, the marble ensemble known as The Ecstasy of Saint Teresa (L’Estasi di Santa Teresa), located in the Cornaro Chapel of the church of Santa Maria della Vittoria, was carved by Bernini (1598-1680), one of the leading Baroque sculptors of the Roman school. A deliberately intense work of Christian art, it is regarded as one of the most important examples of the Counter-Reformation style of Baroque sculpture, designed to convey spiritual aspects of the Catholic faith. The work depicts an episode of “religious ecstasy” in the life of the cloistered Spanish mystic and Carmelite nun – Teresa of Avila (1515-1582) – as described in her autobiography “The Life of Teresa of Jesus”. Despite its status as a key work of religious art, critics of the work are divided as to whether Teresa is experiencing an intense state of divine joy, or a physical orgasm. Indeed some devout contemporary observers expressed outrage that Bernini would debase such a holy experience by depicting it in a sexual way. However, Professor Robert Harbison, in his book Reflections on Baroque (2000, University of Chicago Press), has poured doubt on the notion that Bernini, a follower of St. Ignatius of Loyola, intended any such thing. Instead, he believes that Bernini used the erotic character of the experience as a springboard to a new and higher type of spiritual awakening. The Ecstasy of Saint Teresa is a key work in establishing Bernini as one of the greatest sculptors in the history of art.