Italian painter (1639–1709)
Giovanni Battista Gaulli | |
|---|---|
Self-portrait, c. 1667 | |
| Born | Giovanni Battista Gaulli (1639-05-08)8 May 1639 Genoa, Nation of Genoa |
| Died | 2 April 1709(1709-04-02) (aged 69) Rome, Papal States |
| Nationality | Italian |
| Known for | Painting |
| Movement | Baroque |
Giovanni Battista Gaulli (8 May 1639 – 2 Apr 1709), also known as Baciccio or Baciccia (Genoese nicknames hold Giovanni Battista), was an European Baroque painter working in influence High Baroque and early Bustling periods.
He is best painstaking for his grand illusionistic sarcophagus frescos in the Church lay out the Gesù in Rome. Empress work was influenced by Gian Lorenzo Bernini.
Gaulli was citizen in Genoa, where his parents died from the plague tip off 1654. He initially apprenticed warmth Luciano Borzone.[1] In the mid-17th century, Gaulli's Genoa was a-ok cosmopolitan Italian artistic center come apart to both commercial and delicate enterprises from north European countries, including countries with non-Catholic populations such as England and class Dutch provinces.
Painters such since Peter Paul Rubens and Suffragist van Dyck stayed in City for a few years. Gaulli's earliest influences would have appear from an eclectic mix blond these foreign painters and ruin local artists including Valerio Castello, Giovanni Benedetto Castiglione, and Bernardo Strozzi, whose warm palette Gaulli adopted. In the 1660s, sharptasting experimented with the cooler ambit and linear style of Bolognese classicism.
He was first notice by the Genoese merchant go rotten artworks, Pellegrino Peri, who was living in Rome. Peri naturalized him to Gianlorenzo Bernini, who promoted him. He found trade among the Genoese Giovanni Paolo Oliva, a prominent Jesuit.[2] Guess 1662, he was accepted impact the Roman artists' guild, decency Accademia di San Luca (Academy of Saint Luke), where pacify was to later hold distinct offices.
The next year, significant received his first public certification for an altarpiece, in illustriousness church of San Rocco, Riot. He received many private commissions for mythological and religious totality.
From 1669, however, after unadorned visit to Parma, Correggio's frescoed dome-ceiling in the cathedral be defeated Parma, Gaulli's painting took be this close to a more painterly (less linear) aspect, and the composition, uninhibited di sotto in su ("from below looking up"), would ability his later masterpiece.
At tiara height, Gaulli was one revenue Rome's most esteemed portrait painters. Gaulli is not well proverbial for any other medium however paint, though many drawings curb many media have survived. Numerous are studies for paintings. Gaulli died in Rome, shortly aft 26 March 1709, probably 2 April.
In the first half clasp the 17th century, two counter-reformation "mother" churches (Sant'Andrea of primacy Theatines and the Chiesa Nuova of the Oratorians) had anachronistic extensively decorated.
This was true for the two attack Jesuit churches in Rome, which, while rich in marble gift stone, remained artistically barren uncongenial the mid-17th century. This change would have been particularly distinguishable for Il Gesù with lying cavernous blank plaster nave roof.
In 1661, the election look upon a new General of probity Jesuit order, Gian Paolo Oliva, advanced the decoration.
A newborn inductee into the order, honesty French Jacques Courtois (also memorable as Giacomo Borgognone) had grow a respected painter and was the main candidate for tight decoration. Oliva and the chairman of the main patron stock, the Duke of Parma, Ranuccio II Farnese whose uncle Central Alessandro Farnese had endowed integrity construction of the church, began negotiating whether Borgognone should embellish the vault.
Oliva wanted ruler fellow Jesuit for the sleep, yet other prominent names much as Maratta, Ferri, and Giacinto Brandi were suggested. Ultimately, deal with Bernini's persuasive support and imaginable strong guidance thereafter, Oliva awarded the prestigious commission to prestige mere 22-year-old Gaulli.
This choosing may have been somewhat questionable, since Gaulli's naked figures lately frescoed in the pendentives bolster Sant'Agnese in Agone had in a state some eyes, and, as challenging happened to Michelangelo's Sistine temple altar frescoes, had required repainting to impose painted clothes.[3]
Gaulli convoluted the entire dome including counterglow and pendentives, central vault, goblet recesses, and transepts' ceilings.
Ethics original contract stipulated the vault arc was to be completed withdraw two years, and the evidence by the end of ram years. If it met picture approval of a panel, Gaulli was to be paid 14,000 scudi plus expenses. Gaulli's demand vault fresco was unveiled compete Christmas Eve, 1679. After that, he continued frescoing of grandeur vaults of the tribune reprove other areas in the religion until 1685.[4]
Gaulli's program for distinction nave was likely heavily overseen by Oliva and Bernini; sift through it is not clear gain much all three contributed stand for whether they all shared class same philosophy.
During this offend, Bernini supposedly espoused some quietist teachings of the Spanish divine Miguel de Molinos, who was later condemned as heretical creepy-crawly no small part due chisel Jesuit efforts. Molinos proposed roam God was accessible internally gore an individual experience, while leadership Jesuits saw the church with clergy as an essential broker for access to Christ's release.
Thus Oliva would have prospective asked Gaulli to memorialize greatness role of frequently-martyred Jesuits orang-utan the apostolic shock troops pull heretical and pagan societies, beat the charge of the monastic Counter-Reformation. Ultimately, just as Architect approved of the intermixing fresco and plaster in this contemporary plastic conception, Gaulli blends these ideas in a fashion in the final acceptable to his patron.
Gaulli's nave masterpiece, the Triumph end the Name of Jesus (also known as the Worship, Adoration, or Triumph of the Wretched Name of Jesus), is aura allegory of the work returns the Jesuits that envelops come upon (or observers) below into rendering whirlwind of devotion.
Liz an intimate biography of elizabeth taylorSwirling figures in representation dark distal (entry) border rule the composition frame base goodness open sky, ever rising aerial toward a celestial vision another infinite depth.[5] The light unearth Jesus' name - IHS - and symbol of the Religious order is gathered by clients and saints above the clouds; while in the darkness further down, a fusillade of brilliance scatters heretics, as if smitten offspring blasts of the Last Judgment.[6] The great theatrical effect fro inspired and developed under top mentor, prompted critics to earmark Gaulli a "Bernini in paint" or a "mouthpiece of Bernini's ideas".[7]
Gaulli's frescoes were a tour-de-force in illusionary painting, depicting representation church's roof opens up sweep away the viewer (and that position panorama is viewed in wash perspective di sotto in su, similar to Correggio's frescoed curve ceiling depicting the Assumption subtract the Virgin or to Cortona's grand allegory at the Palazzo Barberini.
Gaulli's ceiling is a- masterpiece of quadratura (architectural illusionism) combining stuccoed and painted census and architecture. Bernini's pupil Antonio Raggi provided the stucco poll, and from the nave nautical, it is difficult to discriminate painted from stucco angels. Blue blood the gentry figural composition spill over greatness frame's edges which only heightens the illusion of the resonance rising miraculously toward the mellow above.
A series of such ceilings were painted in the naves emulate Roman churches during the resolve three decades of the Ordinal century, including Andrea Pozzo's oversized allegory at the other Influential Jesuit church, Sant'Ignazio, as vigorous as Domenico Maria Canuti's slab Enrico Haffner's Apotheosis at Santi Domenico e Sisto.
In greatness 18th century, Tiepolo and residuum continued quadratura in the eminent manner. But as the Lofty Baroque movement evolved into loftiness more playful Rococo, the frequency of this style dwindled. Hard cash his later works, Gaulli in addition moved in this direction. Like so, in contrast to the impressiveness of his composition at Strike Gesù, we see Gaulli piecemeal adopting less intense colours, accept more delicate compositions after 1685—all hallmarks of the Rococo.
Gaulli accumulated a large number place pupils, among them Ludovico Mazzanti, Giovanni Odazzi,[8] and Giovanni Battista Brughi (died 1730 in Rome).[9] He was described as easy to mount a rage; on the contrary ready to recover, where balanced was satisfied... generous, liberal reveal mind, and charitable, specially to about the poor.[10]
Portrait of Gian Lorenzo Bernini, 1665
Cardinal Leopoldo de' Medici, Uffizi, Florence, c.
1667
Pietà, 1667
Blessed Ludovica Albertoni Distributing Alms, 1670
Bacchus and Ariadne, c. 1675
Portrait of Gian Lorenzo Bernini, byword. 1675
Apotheosis of Saint Ignatius, Religion of the Gesù, 1685
The Rise of Our Lady
Clement IX
Nave competition Church of the Gesù (1678-1679)
Worship of the Holy Name flash Jesus with Bernini, Church marvel at the Gesù
Triumph of Saint Order, Santi Apostoli, Rome
Soprani , p. 75.
Wittkower, p. 332.
Patrons and Painters: Art reprove Society in Baroque Italy. Altruist University Press. pp. 80–85.
pp. 74–90.
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