St. Louis Art Museum

This painting tells the biblical story of Judith. Holofernes is a general in the army that is threatening to take over Bethulia, the Jewish town that Judith is from. After saying a long prayer to God, Judith dresses in her best clothing and sets about seducing him. She gets him drunk and cuts off his head. Thereby saving her city from being overtaken by the Assyrians and winning a victory for the Israelites.

This painting is the modello for a ceiling fresco that Giordano did for the Cappella del Tesoro, titled Triumph of Judith.

Architect Michelozzo

Construction began in 1444 by CosimoI de Medici and was occupied by later by his son Lorenzo.

1659 sold to Riccardi Family

https://chei.ussd.edu/palazzo-medici-riccardi/.

The theme of my exhibit is Baroque Ceiling Frescoes. I chose this after seeing work by Luca Giordano. My SLAM art work had no information about the painting. However, I did find a bozzetto, or model, for this work attributed to Giordano for his fresco in the Cappella del Tesoro.

"Visual Arts Data"https://as.uk./digital/collection/NIRP/id/28865. accessed April, 20. 2024

These paintings are an optical illusion commissioned as a way for the patron to celebrate ideas. Either for religious purposes or as a way to convey a families standing, real or perceived, a political or social persuasion through art. The subject of the painting was related to the social standing of the patron, as well what the room would be used for, and also the location of the room. Scott, John Beldon. Images of Nepotism: The Painted Ceilings of Palazzo Barberini: Princeton University, 1991 pg. 11-12

During the Counter Reformation the Catholic Church reaffirmed their doctrine with the Council of Trent. Ceiling frescoes were the ideal way to show people how to be pious, what the Church expected of them, and because most were illiterate, this was the perfect way to tell them with art, how to give service to God. " Professor KPJ", class notes. January 11 ,2024

The two churches that I feel are the best examples of this are Church of The Most Holy Name of Jesus(Il Gesu) in Rome, and St Ignatius. Il Gesu is the mother Church of the Jesuit order. St. Ignatius, also in Rome, is dedicated to the founder of the Society of Jesus, or Jesuits.

Ceiling frescoes were used in private spaces as well. These were used to signify wealth, power, and knowledge, as well as virtue. Or that all you do is for the civic good. Some more private messages were intended for family members.

The three private homes that I would like to highlight are the Palazzo Riccardi in Florence. It was built by Cosimo de Medici II. It was Later sold to the Riccardi family. The ceiling frescoes here were done by Luca Giordano and commissioned by Francesco Riccardi to honor the Medici family. The ceiling in the galleria also makes reference to teachings of the counter reformation. The way to heaven is to follow the path of virtue, virtue over vice, and the pagan worlds belief system is based on superstition. The second home is the Palazzo Bernini in Rome. It was occupied by Pope Urban III's two nephews, Taddeo and Francesco. The frescoes here pay tribute to Pope Urban and the Barberini family. The final home I would like to look at is the

Pitti Palace, also in Florence. The original owner was Luca Pitti who died before it was completed. Cosimo I de Medici purchased it as a ceremonial home when he was a Grand Duke. Today it is a museum.

My exhibit is split into two categories. Palaces and Churches. I separated individual spaces by color.

Pietra da Cortona was born in Tuscany (1596-1669). He was an accomplished architect, sculptor, and painter who studied in Florence and then Rome. He was influenced by Domenichino and Annibale Carracci. His Baroque frescoes were said to be overwhelming illusions of color and movement.

Andrea Sacchi was born in Rome (1559-1661), where he worked his entire career. He trained with his father and later with Francesco Albani. He was a member of the artist's Academy of St. Luke's. He was trained as a more classical painter compared to the baroque style of Cortona.

Fra. Andrea Pozzo (1642-1709) was an Italian painter, architect, and theorist of perspective. He went in the monastery in 1665 and became a Jesuit. He was most known for his work at St. Ignatius Church in Rome.

Luca Giordano was born (1634-1705) in Naples Italy. He was a follower of Ribera, some articles say he was a student, others just that he was in the same circle of painters. He was known as Fa Presto (does it quickly) because of how fast he painted. He was heavily influenced by Caravaggio. He painted mostly religious and mythological subject.

Giovanni Battista Gaulli, also known as il Baciccio was born (1639-1709) in Genoa Italy. He came to Rome in 1658 where he spent the rest of his life. He was a protege of Bernini, who helped his career along.

Pietro da Cortona.

This ceiling fresco depicts the celebration of Pope Urban VIII, from the Barberini family, being guided by Divine Providence. The virtues of Faith, Hope and Charity holding a laurel wreath represent virtue. Giants falling represent Heretics being banished, other virtues, Prudence, Power, Peace, and Fame assure that this Pope will not have war during his Reign. So the message here is very clear, Wisdom and strength will prevail over evil. It is divine fate that that Urban has become Pope and he, with the help and guidance of the Church, will create a world of peace and prosperity for all people.

Rottgen, Steffi, Antonio. Quatrone, and Ghizo. Roli. Italian Frescoes, the Baroque Era, 1600-1800.!st ed. New York: Abbeville Press, 2007.

Luca Giordano. 1683-85

Patron: Francesco Riccardi

This fresco that was done by Giordano for the Riccardi family. They purchased the Palace from the Medici, who were one of the most powerful families in Florence at this time. The fresco in the main gallery was done to show their support for the Medici, but also to show their wealth to Florence society. With the help of Allesandro Segni, Riccardi planned the design that through allegory would represent the moral, spiritual and intellectual elevation of mankind. And that it was through the leadership of the Medici that this was all possible.

Rottgen, Steffi, Antonio. Quatrone, and Ghizo. Roli. Italian Frescoes, the Baroque Era, 1600-1800.!st ed. New York: Abbeville Press, 2007.

1625-1622

Architects Gian Lorenzo Bernini

Carlo Maderno

Francesco Borromini

Scott, John Beldon. Images of Nepotism: The Painted Ceilings of Palazzo Barberini: Princeton University, 1991

Giovanni Battista Gaulli 1672-85

The Council of Trent was the formal reply to the Protestant Reformation. It helped to re organize and double down on Church doctrine. Art, according to the Church, had to send a clear message as to what these teachings were. Il Gesu is the perfect Counter Reformation answer. At the very center is the monogram of the Jesuits, IHS, the name if Jesus. The heavenly light bursting through the ceiling connects the worshipers below with the saints, or band of elect, that are rising to heaven. Below this, in dark shadow, are the sinners falling to hell. The Church message is very clear, she will help us win our salvation. We should turn our eyes to God (and the Jesuits).

KPJ Lecture. February 27,and

https://baroqueart.museumwnf.org/database_item.php?id=monument;BAR;it;Mon11;32;en&cp

Architects Giacomo Barozzi and Giacomo della Porta

1568-1580

Consecrated 1584

This fresco perfectly lines up with the Counter Reformation. In the center is the Savior with the cross. One of the rays of light hits the heart of St. Ignatius, founder of the Jesuit Order. He is seen as a link between heaven and earth. Four flames scatter to the four corners of the earth, signifying the reach of the Catholic Church and specifically the missionary work of the Jesuits. A fifth flame ends in the letters JHS, the emblem of the Jesuits and the symbol of Christ. This fresco is about good vs evil, faith over disbelief, messages that the Church teachings were about

https://baroqueart.museumwnf.org/database_item.php?id=monument;BAR;it;Mon11;32;en&cp

KPJ Lecture

Architect Orazio Grassi

1626-1650

Allegory of Divine Wisdom

The message of this fresco in the library shows a young boy who , with the aid of Mathematics, Truth, Theology, Philosophy, and Divine Wisdom, he breaks free from the bonds of ignorance. With this new found truth one can be led to the divine. https://www.museodelprado.es/en/the-collection/timeline?layers=historical_context|||prado&layers-detail=PRADO_AUTORES|||PRADO_BRAS|||WIKIDATA_CONFLICTOMULITAR|||WIKIDATA_MONARCAS|||WIKIDATA_POLITICOS&search=http://museodelprado.es/items/E39_Actor_1790cf1f-6a57-4add-91a5-c000a1f086e5_8bf86c0a-d777-4360-a115-cd5a0221595b&pInit=1460-1-1&pEnd=1980-1-1&pActive=78373

Private apartments in Palazzo Barberini

This is in the hall in their private apartments that leads to the chapel. The message, one of wisdom and enlightenment, and a strong leader, is how Pope Urban sees himself, like King Solomon. Like the Book of Solomon, this is apocryphal text, meant for private use. It could also relate to the constellations and a link to Galileo, that the Earth revolves around the sun, which privately Urban believed.

Harris,Sutherland,Ann. Chapter1. Seventeenth-Century Art & Architecture, pg. 120-122. Pearson.

The rooms of the planets are made up of five rooms, Venus, Mercury, Saturn, Mars, and Jupiter. Each room is decorated with ceiling frescoes that portray the moral virtues of the Medici family. They signify the five stages in the life of the "ideal" hero. These poems or subjects were suggested by Francesco Rondinelli, a scientist and scholar from Florence, room by room.

The Jupiter room was used as a throne room or formal greeting room. It was is considered the most spectacular room of the five. In this room Jupiter crowns the youth, the Medici heir to the rise of Grand Duke. He has completed his education as seen with the previous rooms. This room shows the culmination of the role the Medici play in society and legitimizes the heir.

Rottgen, Steffi, Antonio. Quatrone, and Ghizo. Roli. Italian Frescoes, the Baroque Era, 1600-1800.!st ed. New York: Abbeville Press, 2007.

This room was used to introduce Nobles to the Grand Duke. This fresco shows the heir, with the help of Mars, the God of war, bringing peace to the seas. The implication is that the victory at sea is a result of the Medici, as seen by the name of Ferdinand II on the band of the crown. In the center of the ceiling is the Medici crest. Above the crest is the Grand Ducal crown.

Rottgen, Steffi, Antonio. Quatrone, and Ghizo. Roli. Italian Frescoes, the Baroque Era, 1600-1800.!st ed. New York: Abbeville Press, 2007.

1446

Architect Fillippo Brunelleschi

Eleonora da Toledo, wife of CosimoI de Medici purchased in 1550.

1560 Bartolomeo Ammannati, and Giulio and Alfonso Parigi reconstruct and complete construction

It was necessary for lack of money to paint a fake cupola. To actually build the dome, it would have been the second largest after St. Peter's Basilica, would be too expensive and they were in a hurry to consecrate the church. And it would block the light to the Dominican and Roman Collage, which would become part of the church. There are small circles of stone in the floor that indicate the perfect spot for viewing. The Baroque frescoes were all about illusion and I think with the shadows cast from the light coming through the windows, it is just so grand and theatrical.

Pier Paolo Racioppi "Church of St. Ignatius, Triumph of St. Ignatius ceiling fresco" in "Discover Baroque Art", Museum With No Frontiers, 2024. https://baroqueart.museumwnf.org/database_item.php?