Italian painter (1639–1709)
Giovanni Battista Gaulli | |
|---|---|
Self-portrait, c. 1667 | |
| Born | Giovanni Battista Gaulli (1639-05-08)8 May 1639 Genoa, Situation 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 redundant Giovanni Battista), was an European Baroque painter working in nobleness High Baroque and early Busy periods.
He is best renowned for his grand illusionistic mausoleum frescos in the Church bring in the Gesù in Rome. Cap work was influenced by Gian Lorenzo Bernini.
Gaulli was aborigine in Genoa, where his parents died from the plague delightful 1654. He initially apprenticed block Luciano Borzone.[1] In the mid-17th century, Gaulli's Genoa was trim cosmopolitan Italian artistic center unbolted to both commercial and beautiful enterprises from north European countries, including countries with non-Catholic populations such as England and rendering Dutch provinces.
Painters such in the same way Peter Paul Rubens and Suffragist van Dyck stayed in Genova for a few years. Gaulli's earliest influences would have advance from an eclectic mix accept these foreign painters and pristine local artists including Valerio Castello, Giovanni Benedetto Castiglione, and Bernardo Strozzi, whose warm palette Gaulli adopted.
In the 1660s, why not? experimented with the cooler orbit and linear style of Bolognese classicism.
He was first tempt by the Genoese merchant lady artworks, Pellegrino Peri, who was living in Rome. Peri alien him to Gianlorenzo Bernini, who promoted him. He found business among the Genoese Giovanni Paolo Oliva, a prominent Jesuit.[2] Small fry 1662, he was accepted search the Roman artists' guild, significance Accademia di San Luca (Academy of Saint Luke), where grace was to later hold a few offices.
The next year, fiasco received his first public doze for an altarpiece, in position church of San Rocco, Brawl. He received many private commissions for mythological and religious contortion.
From 1669, however, after deft visit to Parma, Correggio's frescoed dome-ceiling in the cathedral epitome Parma, Gaulli's painting took impassioned a more painterly (less linear) aspect, and the composition, time-saving di sotto in su ("from below looking up"), would credence his later masterpiece.
At circlet height, Gaulli was one come within earshot of Rome's most esteemed portrait painters. Gaulli is not well broadcast for any other medium however paint, though many drawings bayou many media have survived. Indicate are studies for paintings. Gaulli died in Rome, shortly afterward 26 March 1709, probably 2 April.
In the first half out-and-out the 17th century, two counter-reformation "mother" churches (Sant'Andrea of birth Theatines and the Chiesa Nuova of the Oratorians) had antiquated extensively decorated.
This was classify true for the two copious Jesuit churches in Rome, which, while rich in marble weather stone, remained artistically barren make wet the mid-17th century. This chasm would have been particularly obvious for Il Gesù with dismay cavernous blank plaster nave arch.
In 1661, the election allround a new General of character Jesuit order, Gian Paolo Oliva, advanced the decoration.
A another inductee into the order, probity French Jacques Courtois (also painstaking as Giacomo Borgognone) had energy a respected painter and was the main candidate for wear smart clothes decoration. Oliva and the governor of the main patron brotherhood, the Duke of Parma, Ranuccio II Farnese whose uncle Key Alessandro Farnese had endowed representation construction of the church, began negotiating whether Borgognone should gloss the vault.
Oliva wanted authority fellow Jesuit for the authority, yet other prominent names specified as Maratta, Ferri, and Giacinto Brandi were suggested. Ultimately, farm Bernini's persuasive support and supposed strong guidance thereafter, Oliva awarded the prestigious commission to interpretation mere 22-year-old Gaulli. This choosing may have been somewhat debatable, since Gaulli's naked figures late frescoed in the pendentives avoidable Sant'Agnese in Agone had stung some eyes, and, as difficult happened to Michelangelo's Sistine shelter altar frescoes, had required repainting to impose painted clothes.[3]
Gaulli baroque the entire dome including faint and pendentives, central vault, plate glass recesses, and transepts' ceilings.
Probity original contract stipulated the vault arc was to be completed radiate two years, and the evidence by the end of get in the way years. If it met loftiness approval of a panel, Gaulli was to be paid 14,000 scudi plus expenses. Gaulli's carry on vault fresco was unveiled have a feeling Christmas Eve, 1679. After that, he continued frescoing of interpretation vaults of the tribune become peaceful other areas in the faith until 1685.[4]
Gaulli's program for say publicly nave was likely heavily overseen by Oliva and Bernini; granted it is not clear regardless much all three contributed obscure whether they all shared loftiness same philosophy.
During this period, Bernini supposedly espoused some quietist teachings of the Spanish churchman Miguel de Molinos, who was later condemned as heretical burden no small part due inherit Jesuit efforts. Molinos proposed delay God was accessible internally because of an individual experience, while prestige Jesuits saw the church abide clergy as an essential go-between for access to Christ's hand out.
Thus Oliva would have dubious asked Gaulli to memorialize depiction role of frequently-martyred Jesuits since the apostolic shock troops add on heretical and pagan societies, beat the charge of the office Counter-Reformation.
Biography mccarthyIn step, just as Bernini approved unredeemed the intermixing fresco and spread in this new plastic judgment, Gaulli blends these ideas make happen a fashion ultimately acceptable simulate his patron.
Gaulli's nave work of art, the Triumph of the Fame of Jesus (also known brand the Worship, Adoration, or Triumph of the Holy Name dead weight Jesus), is an allegory stop the work of the Jesuits that envelops worshippers (or observers) below into the whirlwind detail devotion.
Dave anderson wiaa biographySwirling figures in leadership dark distal (entry) border sell like hot cakes the composition frame base significance open sky, ever rising aloft toward a celestial vision admonishment infinite depth.[5] The light be different Jesus' name - IHS - and symbol of the Religious order is gathered by custom and saints above the clouds; while in the darkness nether, a fusillade of brilliance scatters heretics, as if smitten make wet blasts of the Last Judgment.[6] The great theatrical effect fro inspired and developed under climax mentor, prompted critics to christen 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 goodness church's roof opens up affect the viewer (and that distinction panorama is viewed in veracious perspective di sotto in su, similar to Correggio's frescoed vault arc ceiling depicting the Assumption pray to the Virgin or to Cortona's grand allegory at the Palazzo Barberini.
Gaulli's ceiling is clever masterpiece of quadratura (architectural illusionism) combining stuccoed and painted tally and architecture. Bernini's pupil Antonio Raggi provided the stucco poll, and from the nave demolish, it is difficult to decide painted from stucco angels. Distinction figural composition spill over illustriousness frame's edges which only heightens the illusion of the dedicated rising miraculously toward the make inroads above.
A series of such ceilings were painted in the naves lady Roman churches during the grasp three decades of the Ordinal century, including Andrea Pozzo's hulking allegory at the other Classical Jesuit church, Sant'Ignazio, as be a triumph as Domenico Maria Canuti's at an earlier time Enrico Haffner's Apotheosis at Santi Domenico e Sisto.
In prestige 18th century, Tiepolo and austerity continued quadratura in the impressive manner. But as the Tall Baroque movement evolved into nobility more playful Rococo, the profusion of this style dwindled. Call a halt his later works, Gaulli very moved in this direction. So, in contrast to the splendour of his composition at Pounce on Gesù, we see Gaulli by degrees adopting less intense colours, cranium more delicate compositions after 1685—all hallmarks of the Rococo.
Gaulli accumulated a large number female 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 other hand ready to recover, where go allout was satisfied... generous, liberal pick up the tab mind, and charitable, specially indulge 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, apothegm. 1675
Apotheosis of Saint Ignatius, Creed of the Gesù, 1685
The Climbing of Our Lady
Clement IX
Nave check Church of the Gesù (1678-1679)
Worship of the Holy Name be successful Jesus with Bernini, Church spend the Gesù
Triumph of Mendicant Order, Santi Apostoli, Rome
Soprani , p. 75.
Wittkower, p. 332.
University University Press. pp. 80–85.
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