Italian Baroque Era Painter, 1642-1709
Italian painter, architect and stage designer. He was a brilliant quadratura painter, whose most celebrated works, such as the decoration of the church of S Ignazio in Rome, unite painting, architecture and sculpture in effects of overwhelming illusionism and are among the high-points of Baroque church art. He was a Jesuit lay brother and produced his most significant work for the Society of Jesus. This affiliation was fundamental to his conception of art and to his heightened awareness of the artist's role as instrumental in proclaiming the faith and stimulating religious fervour. The methods he used were those of Counter-Reformation rhetoric, as represented in Ignatius Loyola's Spirited Exercises (1548).
Ignazio, detail: The Continents 1688-90 Fresco Sant'Ignazio, Rome Artist: POZZO, Andrea Painting Title: The Apotheose of S. Ignazio, detail: The Continents , 1651-1700 Painting Style: Italian , , religious
Ignazio, detail: The Continents 1688-90 Fresco Sant'Ignazio, Rome Artist: POZZO, Andrea Painting Title: The Apotheose of S. Ignazio, detail: The Continents , 1651-1700 Painting Style: Italian , , religious
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The Apotheose of S. Ignazio
The Apotheose of S. Ignazio
Painting ID:: 63033
The Continents 1688-90 Fresco Sant'Ignazio, Rome Artist: POZZO, Andrea Painting Title: The Apotheose of S. Ignazio, detail: The Continents , 1651-1700 Painting Style: Italian , , religious
The Continents 1688-90 Fresco Sant'Ignazio, Rome Artist: POZZO, Andrea Painting Title: The Apotheose of S. Ignazio, detail: The Continents , 1651-1700 Painting Style: Italian , , religious
Italian Baroque Era Painter, 1642-1709
Italian painter, architect and stage designer. He was a brilliant quadratura painter, whose most celebrated works, such as the decoration of the church of S Ignazio in Rome, unite painting, architecture and sculpture in effects of overwhelming illusionism and are among the high-points of Baroque church art. He was a Jesuit lay brother and produced his most significant work for the Society of Jesus. This affiliation was fundamental to his conception of art and to his heightened awareness of the artist's role as instrumental in proclaiming the faith and stimulating religious fervour. The methods he used were those of Counter-Reformation rhetoric, as represented in Ignatius Loyola's Spirited Exercises (1548).