In the baroque era portraits of woman were not as common as portraits of men. Gian Lorenzo Bernini, Alessandro Algardi and Guiliano Finelli all attempted sculpting a bust of three different women around the 1630’s, each brought their own unique style to the portrait. Bernini the most famous and renowned artist out the three set a precedent for sculptures and other artists would continually be compared to Gian Lorenzo Bernini. Alessandro Algardi and Guiliano Finelli are no exception to this, especially with their portraits of the three women. All three artists competed with one another, especially Bernini and Algardi. Guiliano Finelli’s portrait of Maria Barberini Duglioli was sculpted first, then proceeded by Bernini and Algardi’s portraits.
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Finelli worked on some major projects for Bernini furthering his sculpting expertise before the two had a falling out. In the late 1620’s Finelli was commissioned to sculpt a bust of Pope Urban VII’s niece, Maria Barberini Duglioli. The bust is sculpted out of white marble. Giuliano Finelli is known for his fine details which can be seen in the portrait of Maria Barberini Duglioli. The portrait is elegant and detail oriented, the most obvious is the lace embroidered collar. The collar is what draws in the viewer of the portrait because of its size and how extravagant it is, there are fine little details to it that are perfected. The lace collar is just the start to intrinsic detail that Giuliano goes into on this bust, her precise curly hair, the pearl necklace, and the rest of her clothes. Finelli even hides the Barberini signature armorial bee on her clothes. The fine detailed is called tour de force style of carving and Finelli has mastered it . The clothes, accessories, hair and how they are sculpted show the wealth and importance of the sitter. Although the sitter’s accessories have a distinctive detailed touch to them Finelli puts little to no detail to Maria Barberini Duglioli’s face. Her face is smooth and youthful because Finelli did not add any features to it so there is no physical expression to her face
Finelli worked on some major projects for Bernini furthering his sculpting expertise before the two had a falling out. In the late 1620’s Finelli was commissioned to sculpt a bust of Pope Urban VII’s niece, Maria Barberini Duglioli. The bust is sculpted out of white marble. Giuliano Finelli is known for his fine details which can be seen in the portrait of Maria Barberini Duglioli. The portrait is elegant and detail oriented, the most obvious is the lace embroidered collar. The collar is what draws in the viewer of the portrait because of its size and how extravagant it is, there are fine little details to it that are perfected. The lace collar is just the start to intrinsic detail that Giuliano goes into on this bust, her precise curly hair, the pearl necklace, and the rest of her clothes. Finelli even hides the Barberini signature armorial bee on her clothes. The fine detailed is called tour de force style of carving and Finelli has mastered it . The clothes, accessories, hair and how they are sculpted show the wealth and importance of the sitter. Although the sitter’s accessories have a distinctive detailed touch to them Finelli puts little to no detail to Maria Barberini Duglioli’s face. Her face is smooth and youthful because Finelli did not add any features to it so there is no physical expression to her face