Triumph of the Name of Jesus 1679

Editor: We're looking at "Triumph of the Name of Jesus," painted in 1679 by Giovanni Battista Gaulli. The medium is oil paint as a mural. It's absolutely breathtaking! The way the figures swirl around this central light source is just so dynamic. What do you see in this piece from a formalist perspective? Curator: The drama unfolds through a sophisticated manipulation of light and shadow, an almost aggressive use of perspective that sucks the viewer into its vortex. Note how the artist uses foreshortening to make the figures appear to tumble out of the architectural space. Observe how the swirling composition enhances the sense of ascension towards the divine light above, literally an "explosion" of golden light. Editor: That is powerful. And I also notice the color contrast seems intentional, separating the saved from the damned. Is that contrast part of the formal structure, too? Curator: Precisely. Consider the tenebrism at play: The dramatic contrast between light and dark isn't just decorative, but an organizing principle that amplifies the painting's emotional impact. Gaulli masterfully uses the darker, earth-toned figures at the bottom as a foil to the ethereal, illuminated figures nearer the light. The painting's color scheme thus contributes to its overall dynamism, helping establish an inescapable hierarchy. Editor: It’s fascinating how much the purely visual elements contribute to the reading of such a complex scene. Thanks for highlighting those formal structures! Curator: Indeed. Formal analysis provides an entryway into deeper interpretations, helping us move beyond narrative and explore the painting's symbolic power through its construction.