. Englisch: Katalog Eintrag: Dieses grosse und helle Bozzetto (vorbereitende Öl Skizze) bietet eine seltene arbeitsunterlage Für die Genesis eines der herausragendsten Beispiele der barocken Deckenmalerei, Der Triumph des Namens Jesu in der Kirche Gesù in Rom. Der große Bildhauer und Architekten Bernini Baciccio geholfen, die Kommission über die Dekoration der -Barrel gewölbten Mutterkirche der Jesuiten, die im Jahre 1584 geweiht worden war. Obwohl es keine schriftlichen ikonographischen Programm ist, die Gegenstand der Deckengemälde wurde von Saint Paul's Brief an die Philipper 2 inspiriert: 10, '

• Bildanbieter: The Picture Art Collection / Alamy Stock Foto
• Bild-ID: MMRAAD
• Dateigröße: 14,3 MB (794,2 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 1843 x 2711 px | 15,6 x 23 cm | 6,1 x 9 inches | 300dpi

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Dieses Bild ist ein gemeinfreies Bild. Dies bedeutet, dass entweder das Urheberrecht dafür abgelaufen ist oder der Inhaber des Bildes auf sein Urheberrecht verzichtet hat. Alamy berechnet Ihnen eine Gebühr für den Zugriff auf die hochauflösende Kopie des Bildes.

Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

. English: Catalogue Entry: This large and luminous bozzetto (preparatory oil sketch) provides a rare working document for the genesis of one of the most outstanding examples of Baroque ceiling decoration, The Triumph of the Name of Jesus in the Gesù church in Rome. The great sculptor and architect Bernini helped Baciccio secure the commission of decorating the ­barrel-vaulted mother church of the Jesuit order, which had been consecrated in 1584. Although there is no written iconographic program, the subject of the ceiling fresco was inspired by Saint Paul’s Epistle to the Philippians 2:10, 'That at the name of Jesus every knee should bow, of things in heaven, and things in earth, and things under the earth.' In the bozzetto, the full conceptual and visual thrust of the thundering biblical message is conveyed in the radiant and levitating clusters of saints and angels adoring the symbol of Christ, while their damned counterparts, including fallen angels, heretics, and vices, hurtle into darkness below; these figures are blinded by and excluded from the vision of heaven that overwhelms the worshiper with its illusionary proximity, seeming to open the ceiling to the sky above as one moves from darkness into light. Gallery Label: This luminous oil sketch is a rare surviving bozzetto (working study) for one of the most important illusionistic Baroque frescoes, The Triumph of the Name of Jesus, on the ceiling of Il Gesù in Rome. Saints and cherubs bathed in radiating, divine light adore the monogram of Jesus, IHS, while the souls of the damned plunge into darkness, excluded from the vision of heaven that opens the ceiling to the sky above. The conceit recalls the work of Gaulli’s mentor Bernini, whose Cathedra Petri in Saint Peter’s also features a glowing IHS surrounded by fluttering putti. Indeed, his contemporaries said Bernini conceived the ceiling, while his assistant Antonio Raggi executed the stucco angels at the corners of the imagined architectural fra