巴西齐欧Baciccio

巴西齐欧(Baciccio,1639-1709)意大利画家，出生在热那亚，主要活动在罗马。1657年在罗马定居。为自亚历山大七世到克莱门特十一世的一共7位教皇绘制了肖像画，成为知名的肖像画家。然而他最被推崇的作品还是在耶稣教堂圆拱上的天顶画。

中文名巴西齐欧
外文名Baciccio
性别男
国籍意大利
出生地热那亚
出生日期1639年5月8日
逝世日期1709年4月2日
职业画家

传记

Gaulli出生在热那亚,他的父母死于1654年的瘟疫。他最初在给卢西亚诺Borzone，在17世纪中叶,Gaulli热那亚意大利艺术中心是一个世界性的开放商业和艺术来自北欧国家的企业,包括国家与非天主人口如英格兰和荷兰的省份。画家如彼得·保罗鲁本斯和安东尼·范·戴克在热那亚待了几年。Gaulli最早的影响将来自一个折衷的外国画家和其他当地的艺术家包括Valerio城堡,乔万尼-贝,贝尔纳多·诗温暖的调色板Gaulli采纳。在1660年代,他尝试用冷却器调色板和线性的波伦亚的古典主义风格。

他第一次注意到艺术品的热那亚商人,Pellegrino美人,谁住在罗马。仙女将他介绍给Gianlorenzo贝尔尼尼提拔他。他发现顾客在热那亚乔凡尼保罗·奥利瓦著名的耶稣会。1662年,他被罗马艺术家协会,接受到学院迪圣卢卡(圣卢克的学院),后来几个办事处。第二年,他收到了他的第一次公开委员会一个祭坛的装饰品,在教堂里圣洛克,罗马。他收到了许多私人佣金神话和宗教作品。

然而,从1669年访问帕尔马之后,柯勒乔的壁画dome-ceiling帕尔马的大教堂Gaulli画了更多的绘画(线性)方面,和组成、组织di不知苏(“从下面查找”),会影响他以后的杰作。在他的身高,Gaulli罗马最受人尊敬的肖像画家。Gaulli不是以任何其他媒介,而是油漆,尽管许多图纸很多媒体都幸存了下来。都是研究绘画。Gaulli死于罗马,1709年3月26日之后不久,大概4月2日。

Gesu壁画的教堂

荣耀的神秘的羔羊

上半年17世纪,大量的室内装饰已经完成了两个一般的“母亲”教堂,(桑特'Andrea和基四星),两个主要的反对订单,Theatines和奥拉托利会会友。这不是真的对两大罗马耶稣会教堂,而丰富的大理石和石材,还是在艺术上贫瘠的17世纪中期。这对Il Gesu空隙会尤为明显的海绵空白石膏天花板中殿。资金和惯性停滞的装饰。

1661年,耶稣会的选举新总订单,吉安保罗·奥利瓦、先进的装饰。应召入伍的士兵进入新秩序,法国雅克·科特伊斯(也称为Giacomo Borgognone)已经成为一个受人尊敬的画家,其装饰的主要候选人。奥利瓦和领导者的主要赞助人的家人,帕尔马公爵,Ranuccio二世法他的叔叔红衣主教亚历桑德罗·法尔赋予了建筑的教堂,开始谈判Borgognone是否应该装修地下室。奥利瓦想要他的耶稣会的委员会,然而等著名的名字Maratta,费里,Giacinto布提出了。最终,贝尔尼尼可能的有说服力的支持和强有力的指导之后,奥利瓦获得了著名的委员会仅仅22岁Gaulli。这个选择可能有些争议,因为Gaulli裸体人物最近在穹隅的壁画桑特'Agnese在以前的冒犯了一些眼睛,坛发生了米开朗基罗的西斯廷教堂壁画,画有要求重新绘制强加的衣服。

Gesu教堂的中殿

Gaulli装饰整个穹顶包括灯笼和穹隅,中央金库,窗口的山洞,婚礼的天花板。原合同规定的圆顶在两年内完成,年底,其余十年。如果遇到了委员会的批准,Gaulli支付14000scudi加费用。Gaulli主要的穹顶壁画揭幕圣诞夜,1679年。在这之后,他继续壁画装饰的金库论坛和其他地区教会直到1685年。

Gaulli殿的程序可能是由奥利瓦和贝尔尼尼;尽管目前还不清楚有多少这三个贡献以及他们是否都共享相同的哲学。在这段时间里,贝尔尼尼据称支持一些寂静主义的教义的西班牙牧师米格尔·莫利诺后来被谴责为异端,在很大程度上归功于耶稣会努力。莫利诺提出,上帝是访问内部通过个人经验,而耶稣会士看到了教会和神职人员必不可少的中介进入基督的救恩。因此奥利瓦的角色可能会要求Gaulli纪念frequently-martyred耶稣会士的使徒突击部队异端邪说和异教社会,教皇的引领反对改革。最终,就像贝尔尼尼批准的混合壁画和石膏在这个新的塑料概念、Gaulli混合这些想法在一个时尚最终接受他的赞助人。

耶稣的名的胜利

Gaulli的中殿的杰作,“耶稣的神圣名字的胜利”(也称为崇拜,崇拜,或耶稣的圣名)的胜利,是一个寓言的工作围绕的耶稣会信徒(或观察员)低于奉献的旋风。在黑暗中旋转数据远端(条目)边境开放天空组成框架的基地,不断上升向上天体的无限的深度。光从耶稣的名- IHS和耶稣的象征秩序是由顾客和圣徒聚集在云层之上,而在黑暗中,一个齐射的辉煌散射异教徒,仿佛被爆炸的最后审判日.伟大的戏剧效应激励和开发在他的导师,促使批评者标签Gaulli“油漆贝尔尼尼”或“喉舌贝尔尼尼的想法”。

Gaulli壁画是一个旅程的错觉的绘画,描绘教堂的屋顶上面打开查看器(查看全景的正确观点di不知在苏,类似于柯勒乔壁画圆顶天花板上描绘假设的处女或Cortona大的寓言Barberini宫殿。Gaulli天花板的杰作quadratura(建筑幻觉艺术)结合粉刷过,画人物和建筑。贝尔尼尼的学生安东尼奥拉吉提供了灰泥数据,和中殿的地板上,很难区分涂灰泥天使。借喻的成分溢出的框的边缘,只会强化忠实的上升的幻想奇迹般地向上面的光。

以后的工作和遗留

一系列这样的天花板涂氟化钠的罗马教会在过去三十年的17世纪,包括安德里亚·波佐大规模的寓言在另罗马耶稣会教堂,桑特'Ignazio,以及多梅尼科玛丽亚Canuti的年代,恩里科Haffner典范,桑蒂Domenico e Sisto。在18世纪,Tiepolo和其他人继续quadratura大的方式。但随着高巴洛克运动演变成更多的好玩的洛可可这种风格的流行逐渐缩小。在他的晚期作品,Gaulli也朝着这个方向前进。因此,相比之下,他的作文的壮丽与Il Gesu,我们看到Gaulli逐渐采用没那么强烈的颜色,和更精致的作品在1685年之后——所有的洛可可风格的特点。

Gaulli积累了大量的学生,在他们中间卢多维Mazzanti,乔凡尼Odazzi,^[8]和Giovanni Battista Brughi在罗马(1730年去世)。他被形容为容易发起愤怒;但准备恢复,原因是满足……大方,自由的思想,和慈善,特别是对穷人。

English Introduction

Biography

Gaulli was born in Genoa, where his parents died from the plague of 1654. He initially apprenticed with Luciano Borzone. In 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. Painters such as Peter Paul Rubens and Anthony van Dyck stayed in Genoa for a few years. Gaulli's earliest influences would have come from an eclectic mix of these foreign painters and other local artists including Valerio Castello, Giovanni Benedetto Castiglione, and Bernardo Strozzi, whose warm palette Gaulli adopted. In the 1660s, he experimented with the cooler palette and linear style of Bolognese classicism.

He was first noticed by the Genoese merchant of artworks, Pellegrino Peri, who was living in Rome. Peri introduced him toGianlorenzo Bernini, who promoted him. He found patrons among the Genoese Giovanni Paolo Oliva, a prominent Jesuit. 1662, he was accepted into the Roman artists' guild, the Accademia di San Luca (Academy of Saint Luke), where he was to later hold several offices. The next year, he received his first public commission for an altarpiece, in the church of San Rocco, Rome. He received many private commissions for mythological and religious works.

From 1669, however, after a visit to Parma, Correggio's frescoed dome-ceiling in the cathedral of Parma, Gaulli's painting took on a more painterly (less linear) aspect, and the composition, organized di sotto in su ("from below looking up"), would influence his later masterpiece. At his height, Gaulli was one of Rome's most esteemed portrait painters. Gaulli is not well known for any other medium but paint, though many drawings in many media have survived. All are studies for paintings. Gaulli died in Rome, shortly after 26 March 1709, probably 2 April.

Church of the Gesù frescoes

By the first half of the 17th century, the extensive interior decoration had been completed for the two generally contemporaneous "mother" churches, (Sant'Andrea and the Chiesa Nuova), of two major counter-reformation orders, the Theatines andOratorians. This was not true for the two large Jesuit churches in Rome, which, while rich in marble and stone, remained artistically barren by the mid-17th century. This void would have been particularly evident for Il Gesù with its cavernous blank plaster nave ceiling. Funding and inertia stalled its decoration.

In 1661, the election of a new General of the Jesuit order, Gian Paolo Oliva, advanced the decoration. A new inductee into the order, the French Jacques Courtois (also known as Giacomo Borgognone) had become a respected painter and was the main candidate for its decoration. Oliva and the leader of the main patron family, the Duke of Parma, Ranuccio II Farnese whose uncleCardinal Alessandro Farnese had endowed the construction of the church, began negotiating whether Borgognone should decorate the vault. Oliva wanted his fellow Jesuit for the commission, yet other prominent names such as Maratta, Ferri, and Giacinto Brandi were suggested. Ultimately, with Bernini's persuasive support and likely strong guidance thereafter, Oliva awarded the prestigious commission to the mere 22-year-old Gaulli. This choice may have been somewhat controversial, since Gaulli's naked figures recently frescoed in the pendentives for Sant'Agnese in Agone had offended some eyes, and, as had happened to Michelangelo's Sistine chapel altar frescoes, had required repainting to impose painted clothes.

Gaulli decorated the entire dome including lantern and pendentives, central vault, window recesses, and transepts' ceilings. The original contract stipulated the dome was to be completed in two years, and the remainder by the end of ten years. If it met the approval of a panel, Gaulli was to be paid 14,000 scudi plus expenses. Gaulli's main vault fresco was unveiled on Christmas Eve, 1679. After this, he continued frescoing of the vaults of the tribune and other areas in the church until 1685.

Gaulli's program for the nave was likely heavily overseen by Oliva and Bernini; though it is not clear how much all three contributed and whether they all shared the same philosophy. During this time, Bernini supposedly espoused some quietist teachings of the Spanish priestMiguel de Molinos, who was later condemned as heretical in no small part due to Jesuit efforts. Molinos proposed that God was accessible internally through an individual experience, while the Jesuits saw the church and clergy as an essential intermediary for access to Christ's salvation. Thus Oliva would have likely asked Gaulli to memorialize the role of frequently-martyred Jesuits as the apostolic shock troops in heretical and pagan societies, leading the charge of the papal Counter-Reformation. Ultimately, just as Bernini approved of the intermixing fresco and plaster in this new plastic conception, Gaulli blends these ideas in a fashion ultimately acceptable to his patron.

Gaulli's nave masterpiece, the "Triumph of the Sacred Name of Jesus" (also known as the Worship, Adoration, or Triumph of the Holy Name of Jesus), is an allegory of the work of the Jesuits that envelops worshippers (or observers) below into the whirlwind of devotion. Swirling figures in the dark distal (entry) border of the composition frame base the open sky, ever rising upward toward a celestial vision of infinite depth.The light from Jesus' name - IHS - and symbol of the Jesuit order is gathered by patrons and saints above the clouds; while in the darkness below, a fusillade of brilliance scatters heretics, as if smitten by blasts of the Last Judgment.The great theatrical effect here inspired and developed under his mentor, prompted critics to label Gaulli a "Bernini in paint" or a "mouthpiece of Bernini's ideas".

Gaulli's frescoes were a tour-de-force in illusionary painting, depicting the church's roof opens up above the viewer (and that the panorama is viewed in true perspective di sotto in su, similar to Correggio's frescoed dome ceiling depicting the Assumption of 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 figures and architecture. Bernini's pupil Antonio Raggi provided the stucco figures, and from the nave floor, it is difficult to distinguish painted from stucco angels. The figural composition spill over the frame's edges which only heightens the illusion of the faithful rising miraculously toward the light above.

Later work and Legacy

A series of such ceilings were painted in the naves of Roman churches during the last three decades of the 17th century, including Andrea Pozzo's massive allegory at the other Roman Jesuit church, Sant'Ignazio, as well as Domenico Maria Canuti's and Enrico Haffner's Apotheosis at Santi Domenico e Sisto. In the 18th century, Tiepolo and others continued quadratura in the grand manner. But as the High Baroque movement evolved into the more playful Rococo, the popularity of this style dwindled. In his later works, Gaulli too moved in this direction. Thus, in contrast to the grandeur of his composition at Il Gesù, we see Gaulli gradually adopting less intense colours, and more delicate compositions after 1685—all hallmarks of the Rococo.

Gaulli accumulated a large number of pupils, among them Ludovico Mazzanti, Giovanni Odazzi,and Giovanni Battista Brughi(died 1730 in Rome). He was described as easy to mount a rage; but ready to recover, where reason was satisfied... generous, liberal of mind, and charitable, specially towards the poor.

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信息统计与维护

美术百科参考资料

1、Giovanni Battista Gaulli