Baroque: Triumph of the Name of Jesus by Giovanni Gaulli

 Art in the Baroque Era

Background Information

The Baroque Era, in the seventeenth century, incorporated a heightened element of theatricality and drama in terms of the art found in this time period. Along with this fact, there were also added elements of impressive illusions and realism which can be easily seen in the Triumph of the Name of Jesus by Giovanni Gaulli. Gaulli beautifully created this ceiling fresco piece from 1672-85 and it is located in the nave of the Church of Gesu in Rome, Italy. It is quite amazing that Giovanni Gaulli was able to paint such a magnificent masterpiece on such an expansive ceiling in this particular church. His details definitely don't go unnoticed and his piece showcases the true essence of Baroque art.

The beautiful painting ceiling painting is made up of many parts that contribute to its meaning. Gesu, the name of the Church it's found in, translates to Jesus in Italian. When you look at the center of the ceiling, the letters "IHS" are painted with a cross above which signifies the Jesuit emblem, the name of Jesus. The figures surrounding the golden light include the angels, the Elect who are found situated on the darker clouds, and then those who are being sent down to hell are located at the very bottom of the fresco. In a sense, Gaulli was expertly trying to distinguish the boundaries between Heaven and Earth and the desire to gain salvation through Jesus' name. This video does a great job of further explaining the Triumph of the Name of Jesus.

 Triumph of the Name of Jesus, created by Giovanni Gaulli, 1672-85

Influences of the Council of Trent

The Council of Trent which spanned from 1545-1563 had a great influence on the Triumph of the Name of Jesus by Giovanni Gaulli. Through three separate sessions, the Council's goal was to counter the ongoing Protestant Reformation. They outlined guidelines regarding art including that art needed to be easily understood, depict realism and emotion, stir up spiritual fervor, and much more. Because of these artistic recommendations, artists began to incorporate them into their works of art further contributing to the Baroque Era.

Giovanni Gaulli, in particular, adheres to the recommendations from the Council of Trent of integrating realism and emotion while simultaneously stirring up spiritual fervor. For example, there is such a wide range of emotions present on the various figures' faces. The angels look like they are delighting in the light, those in the Elect demonstrate a longing for salvation, and many of those on the bottom are shielding their faces from the glory above. All of these emotions contribute to a heightened feeling of realism. Gaulli is also able to inspire spiritual fervor by creating a scene that paints three separate layers. Those who are in the heavens, those desiring to be in the heavens, and those that have fallen away. It was a call for people to find salvation in Jesus. 

This article has even more valuable information about the Council of Trent and its impact on Baroque art.

Artistic Analysis

One of the most notable elements to pay attention to in this ceiling fresco is the use of wooden panels to add a level of dimensionality. The wooden panels are seen on the sides of the central image where they are framing the entire work. The figures situated on the surrounding clouds aren't painted on the ceiling itself but on the inventive wood panels. Personally, I would have never picked up on the fact that the figures on the clouds were situated on extended panels. What an impressive feature! 

Along with the dimensionality, Gaulli incorporated shading on the actual architecture to form an illusion of sorts. Instead of having to rely on a natural shadow from the panels, the artist paints on the surface of the ceiling creating shadows for himself. The shadows are quite apparent on the left, right, and bottom of this work of art. When observing from below, this kind of illusion convinces on-lookers that the figures we see are in three dimensions when in reality, they are not. Once again, it adds to the factor of realism, making the figures seem life-like.

Lastly, it is important to note the use of color in the center of the fresco painting. Gold is a color that represents royalty and prestige. By making this color the focal point of the piece, Gaulli is once again affirming the important nature of this religious figure. The prevalent utilization of gold hues draws the viewer's eyes right to the center at the first glance. I believe Gaulli did this so that individuals would be immediately drawn to the message he was trying to convey. Jesus' name is also situated in the center of the painting because they thought Jesus should be the center of their lives. 

I found this video very valuable when looking at the different artistic elements present in this piece. 

Aesthetic Appreciation

This fresco ceiling piece is so awe-inspiring to me! First off, I love all of the incorporations of gold which makes the piece seem regal. There is also a massive amount of detail present seen through both the figures and the background. Gaulli did a wonderful job of making the figures seem hyper-realistic and expressive which directly adheres to the Baroque style of art. I grew up in a religious household, so the religious nature is what originally drew me into his work of art. I personally would not own a piece like this in my home because it might clash with the aesthetic of what I already have presently. Although, I still appreciate the master quality of it nonetheless and the message it is able to convey. 

Sources

Camara, Dr. Esperança. “Baroque Art, an Introduction.” Smarthistory, https://smarthistory.org/a-beginners-guide-to-baroque-art/.

Harris, Dr. Beth, and Dr. Steven Zucker. “Il Gesù, Rome.” Smarthistory, https://smarthistory.org/il-gesu-rome/. 

Kilroy-Ewbank, Dr. Lauren. “The Council of Trent and the Call to Reform Art.” Smarthistory, https://smarthistory.org/the-council-of-trent-and-the-call-to-reform-art/.