Besides the traditional pose intended to be examined of mere external traits, his work extends to be judged at spatial encounter outside of confines embedded on the surface of the structure alone.
Apparently, Bernini’s main concern was with surface and texture and with the conveyance of movement. This objective is further reflected in the creations of “The Ecstasy of St. Teresa” and the “Throne of St. Peter” whereby the former is sculpted in such fashion as to portray the most significant event in the life of St. Teresa. The marble sculpture specifically depicts her in a state of spiritual rapture when pierced to the heart by an angel’s fiery spear. Through her autobiography, St. Teresa confesses that the pain she felt at the moment was overly intense that it caused her instead to be overcome with delight and relish sweetness in place of the excruciating strikes. Bernini grants this justice in rendering the structure to be chiseled off into the most refined detail from which to imagine a height of enlightenment possibly reached by St. Teresa as well as the look of solemnity sprawled across her face in a position that indicates utter removal of consciousness about the physical world. As a scholarly work, “The Ecstasy of St. Teresa” may be observed to have signified the artist’s regard for an intellectual approach in which spirituality is deeply valued. Bernini could not afford to neglect this aspect as well in “The Throne of St. Peter” in St. Peter’s Basilica in Rome. He is known to have utilized a mixture of gilded bronze, gold, wood, and stained glass in this prominent object believed to have been sat on by St. Peter himself.
As a master of radical naturalism, Caravaggio is found to have greatly influenced the Baroque paintings with a unique sense of physical and emotional realism under dramatic technique with lighting which also amply manifests in the style of Georges de La Tour.