|
Collection:
|
|
ADJUNCT MODULE A: ITALIAN ART
LocalCollection
ADJUNCT MODULE A: ITALIAN ART
Collection
|
|
Preferred Title:
|
|
Triumph of the Name of Jesus
Work_PrefTitle
Triumph of the Name of Jesus
Preferred Title
|
|
Alternate Title:
|
|
Triumph of the Sacred Name of Jesus
Work_AltTitle
Triumph of the Sacred Name of Jesus
Alternate Title
|
|
Image View:
|
|
Detail, on arc of clouds that bisect the stucco "frame" on both sides, are the worthy and saints; below is a dark triangular shadow where the damned are expelled
Image_Title
Detail, on arc of clouds that bisect the stucco "frame" on both sides, are the worthy and saints; below is a dark triangular shadow where the damned are expelled
Image View
|
|
Creator:
|
|
Antonio Raggi I (Italian sculptor, 1624-1686); Giovanni Battista Gaulli (Italian painter, 1639-1709)
Agent_Display
Antonio Raggi I (Italian sculptor, 1624-1686); Giovanni Battista Gaulli (Italian painter, 1639-1709)
Creator
|
|
Location:
|
|
site: Il Gesù (Rome, Lazio, Italy)
Work_Location_Type_D isplay
site: Il Gesù (Rome, Lazio, Italy)
Location
|
|
Location Note:
|
|
Via degli Astalli, 16
Work_LocationNotes
Via degli Astalli, 16
Location Note
|
|
GPS:
|
|
41.895833 12.479722
GPS
41.895833 12.479722
GPS
|
|
Date:
|
|
1678-1679 (creation)
Work_DateDisplay
1678-1679 (creation)
Date
|
|
Cultural Context:
|
|
Italian
Work_Culture
Italian
Cultural Context
|
|
Style Period:
|
|
Baroque
Work_StylePeriodDisp lay
Baroque
Style Period
|
|
Work Type 1:
|
|
fresco (painting)
Work_Worktype1
fresco (painting)
Work Type 1
|
|
Work Type 2:
|
|
stuccowork
Work_Worktype2
stuccowork
Work Type 2
|
|
Classification:
|
|
painting
Work_Classification
painting
Classification
|
|
Material:
|
|
fresco (pigment on plaster); stucco
Work_MaterialDisplay
fresco (pigment on plaster); stucco
Material
|
|
Technique:
|
|
carving (processes); fresco painting (technique); modeling (forming)
Work_Technique
carving (processes); fresco painting (technique); modeling (forming)
Technique
|
|
Description:
|
|
The Church of the Gesù (Il Gesù) is the mother church of the Society of Jesus (Jesuits) in Rome. On 21 August 1672 Gian Paolo Oliva, the Father-General of the Jesuit Order, signed a contract with Gaulli commissioning him to fresco the dome, the pendentives and the nave and transept vaults of the church. The style so successfully developed for the pendentives was transferred to the vault of the great nave and reinterpreted, with still more dramatic compositional devices and on a very much larger scale, in the fresco representing the Triumph of the Name of Jesus (1678-1679). In this we see the hosts of heaven kneeling in adoration before the divine light that radiates from the monogram of Jesus, drawing the blessed up to heaven and casting the damned down into hell. Almost all are sharply foreshortened. The most striking aspect of the Triumph is its composition and the blending of architecture, painting and sculpture. Early sources state, and modern critics generally agree, that Bernini played a major role in its development. Bernini's pupil Antonio Raggi provided the stucco figures. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
The Church of the Gesù (Il Gesù) is the mother church of the Society of Jesus (Jesuits) in Rome. On 21 August 1672 Gian Paolo Oliva, the Father-General of the Jesuit Order, signed a contract with Gaulli commissioning him to fresco the dome, the pendentives and the nave and transept vaults of the church. The style so successfully developed for the pendentives was transferred to the vault of the great nave and reinterpreted, with still more dramatic compositional devices and on a very much larger scale, in the fresco representing the Triumph of the Name of Jesus (1678-1679). In this we see the hosts of heaven kneeling in adoration before the divine light that radiates from the monogram of Jesus, drawing the blessed up to heaven and casting the damned down into hell. Almost all are sharply foreshortened. The most striking aspect of the Triumph is its composition and the blending of architecture, painting and sculpture. Early sources state, and modern critics generally agree, that Bernini played a major role in its development. Bernini's pupil Antonio Raggi provided the stucco figures. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
|
|
Collection:
|
|
Adjunct Module A: Italian Art
LocalCollection
Adjunct Module A: Italian Art
Collection
|
|
Identifier:
|
|
6A2-I-R-TONJ-C03
Image_OriginalVendor ID
6A2-I-R-TONJ-C03
Identifier
|
|
Rights:
|
|
© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
|
