Andrea Pozzo . ( Trento1642- Viena ( 1709 ) :
His real name was Andreas puteus, although it is known as “The Father” Pozzo therefore belonged to the Jesuit Order. Received their first lessons in his hometown. Once he joined the Jesuit Order, was commissioned pictorial decorations of many of their churches. His art work and development in many cities of Italy as Milan, Genoa, Modena, and Venice, and performed the decoration of churches in Bologna, Turin and other Arezzo.
On the recommendation of the painter Carlo Maratta, Jesuit Father Oliva call to Rome in 1685 to decorate the Church of San Ignacio in that city, the second largest of the Order in Rome. Alli paint frescoes in the apse and a fresh large in the barrel vault of the nave, 17 meters wide and 36 long. In the apse represented scenes from the life of the saint, and ceiling dedicate it to the apotheosis of it.
He continued to paint throughout Italy, with its illusionist technique in which architecture and painting so it is difficult to delineate the border between the two merge. In 1702, invited by the Austrian Emperor Leopold I, he moved to Vienna, where he worked until his death. His most important in that city works are the altarpiece of the church of the Jesuits, and cool with “The admission of Hercules on Olympus” in the Liechtenstein Palace .-
The Table :
In the cool of the vault Father Pozzo shows the Triumph of San Ignacio. The center of the composition is occupied by a performance of La Santisima Trinidad, from which emerges a ray of light that illuminates the saint, which in turn reflects it to the allegories of the four continents then known, and that meant the evangelizing work of the Jesuit Order founded by St. Ignatius .- It should be noted that this fresco was painted between 1691 and 1694, when in 1651 Gianlorenzo Bernini had carved for the Piazza Navona in Rome’s famous Fountain of the Four Rivers, with similar symbols.
The virtuosity of the artist makes on a flat surface it may seem that what we are seeing is a dome of great height, and architectures and painted walls, columns and architraves remain above the springing of the vault. It is an imaginary building that rises and seems more real than below which was built in stone. The perspective effect is magnificent.
The entire surface is occupied by angels, saints, priests and devotees, in long extremist attitudes, violent and dramatic foreshortening. The same Holy rises to heaven in a cloud pushing a group of angels. In the Jesuit ideology, San Ignacio advised to study the sciences and the perspective being a consequence of optics and geometry, some historians say that the intention of Father Pozzo was his work in addition to aesthetic value, have a scientific interest .
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