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Gaulli was born in Genoa, where his parents died from the plague of 1654.He initially apprenticed with Luciano Borzone. [1] In the mid-17th century, Gaulli's Genoa was a cosmopolitan Italian artistic center open to both commercial and artistic enterprises from north European countries, including countries with non-Catholic populations such as England and the Dutch provinces.
Giovanni Battista Gaulli owes a great deal of his success on the ceiling fresco to Gian Lorenzo Bernini. Several other artists were considered for the job of painting the ceiling. Gian Paolo Oliva relied on Bernini's opinion when selecting the artist for the ceiling.
In his writings and art criticisms during the mid-1960s art critic and artist Donald Judd claimed that illusionism in painting undermined the artform itself. Judd implied that painting was dead, claiming painting was a lie because it depicted the illusion of three-dimensionality on a flat surface. Judd claimed that painting needed to recognize ...
The ceiling of the apse is adorned by the painting Glory of the Mystical Lamb by Baciccia (Giovanni Battista Gaulli). [11] The most striking feature of the interior decoration is the ceiling fresco, the grandiose Triumph of the Name of Jesus (1678-1679) [12] by Giovanni Battista Gaulli. Gaulli also frescoed the cupola, including lantern and ...
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Giovanni Battista Gaulli, Jesuit noted for Triumph of the Name of Jesus on the ceiling of the Church of the Gesù [240] Geertgen tot Sint Jans, 15th-century painter from the Low Countries; works include Nativity at Night [241]
Giovanni Benedetto Castiglione (1609–1664) Giovanni Battista Monti (1657) Giovanni Battista Gaulli (1639–1709) Giovanni Battista Carlone (1653–1655) Alessandro Magnasco (1667–1749) Domenico Fiasella (1589–1669) Luca Cambiaso (1527–1585) Pierre Puget (1622–1694) Valerio Castello (1624–1659) Giovanni Andrea De Ferrari (1598–1669)
The painting depicts the Roman general Scipio Africanus after the 209 BCE Battle of Baecula in present-day Spain where he defeated the Carthaginians, capturing their Iberian and North African allies. The painting details the moment in which one of the captured Africans is brought before Scipio, who recognises him to be Massiva, the nephew of a ...
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