Thomas Baker

myminifactory

The portrait bust experienced a revival in the 15th century as an ancient Roman sculptural type, gaining momentum with a growing interest in representing the individual. Such images spanned a wide range, from intimate realism to idealized portraits, and often carried significant political weight. In 17th-century Rome, numerous busts were created of popes, prelates, and other elite members. They were typically intended for public display or propaganda purposes. A detailed account of Gianlorenzo Bernini's working method is preserved from his visit to France in 1665. He made many drawings of his sitters in action to gain a deeper understanding of their movements and expressions. Working from memory, he then carved the Carrara marble block using chisels and drills. Bernini took great pride in being able to give marble a lifelike appearance. In this bust, the tool marks are particularly evident in the hair and intricate lace. The bust was apparently completed by an assistant after Bernini was instructed to stop work. As the leading sculptor in Rome, Bernini primarily worked for the papal court and other heads of state, earning an exceptional reputation and high status. This bust stands out because it was a private commission from a relatively modest member of society, unlike the majority of contemporary sculpted portraits.