A Postmodernist, Deconstructionist Analysis of Gaulli’s, "The Triumph of the Name of Jesus and

Subject:

The Triumph of the Name of Jesus and The Fall of the Damned, 1676–79

By Giovanni Battista Gaulli, Il Baciccio, Italian, 1639 - 1709

Oil on paper, laid down on canvas

163 x 111 cm (64 3/16 x 43 11/16 in.) Frame: 175.9 x 123.5 x 6 cm (69 1/4 x 48 5/8 x 2 3/8 in.)

Museum purchase, Fowler McCormick, Class of 1921,

Fund and Laura P. Hall Memorial Fund

The dramatic depiction of the Psychomachia has been the subject of masterpieces throughout the course of art history. Within the oeuvre of the greatest artists of all time, the battle of good vs. evil has been represented through various iconographic and iconological symbols. Whether through mythological tales, religious accounts, or historical events, the battle between the forces of good and evil has proven to be a stable foundation from which to create universally appealing art. Although the iconographic and iconological symbols may change, the theme in these artworks has remained extremely common. The Triumph of the Name of Jesus is just such a masterpiece from the oeuvre of Giovanni Battista Gaulli. It is a quintessential example of art depicting good and evil, light over darkness, right over wrong, and of representing the image of God. Gian Paolo Oliva commissioned the work, a General in the Jesuit order. The intention was to inspire within the patron a desire for devotion to God by enveloping them in a whirlwind of majestic art; art that sensuously reminds the soul of the reward of eternal life in Heaven for good and the peril of eternal damnation for the wicked. While the motives of this Jesuit order are at first glance noble and arguably necessary culturally and sociologically, would they survive the harsh critical analyses of our times? In the Baroque and High Renaissance eras, where Christianity reigned, there was universality to the reality of damnation and hell but in today’s chaotic postmodern world, is there universality in even the concept of heaven and hell? In this essay I wish to assert the triumph in The Triumph… defining it as a masterpiece that not only pleases aesthetically, but also stimulates intellectually. Through a deconstructive analysis of Gaulli’s masterpiece, my intent is to exhibit the necessity of The Triumph… as well as its relevance as what Derrida describes as a “sacred text”, one that demands translation. Postmodernism and religion are arguably doomed to collide philosophically in that the latter is centered on re-establishing the “establishment” and the former is an establishment that will wage bloody war to maintain itself. However, it is my assertion that the iconographic and iconological symbolism’s depicted in The Triumph… are relevant even and especially in postmodern thought.

At the turn of the 18th century, this work of art and its theme were commonly accepted in Europe. As Christianity’s appeal spread across the Atlantic, with enthusiasm among Protestants sweeping the American Colonies, this marvelous work of art was at its birth and thus can be attributed to The American Awakening of the 18th Century. However, how have the subjects, themes and artistry of this fresco sustained themselves throughout the 21st century? Have the iconography of heaven and hell, angels and demons, and light versus darkness, lost their affect on our psyche or are they still formidable symbolisms that mean the same today as they did yesterday? In this paper I will analyze The Triumph…’s iconography and iconology through the scope of Postmodern thought in determining whether or not it would still be as significant today as it was more than two centuries ago. Since Postmodern thought’s overlying theme is to overwrite the master narrative through the practice of multiple histories of art, how will the very common narrative of heaven and hell (the idea that the righteous inherit heaven and the wicked are damned to hell) weigh on the scale of the Postmodernist? This will account for the intellectual response to The Triumph…. Aesthetically, do the implementation of Tromp L’oeil and the Baroque style of the Renaissance contribute to or diminish from the longevity of The Triumph…’s central theme of good and evil, heaven and hell? Do they aid or prevent the universality of the message? According to German art historian Hans Belting, there are two different histories of art have developed throughout its evolution: one of the pre-modern and the modern. Where does The Triumph… place on this divisive scale, or was it just “art for art’s sake”?

Formal Analysis:

The Triumph of The Name of Jesus and the Fall of The Damned dramatically represents a scene foretold in the Holy Christian prophecies found in Philippians 2:10, "That at the name of Jesus every knee should bow, of things in heaven, and things in earth, and things under the earth." It is an allegorical depiction in tribute to the battles, triumphs and defeats, and martyrdom of the Jesuit Order in the Holy, “triumphant” name of Christ. The artwork is a ceiling fresco consisting of painted figures on stucco extensions, decorating the dome ceiling of The Church of the Gesú, the mother church of the Society of Jesus, better known as The Jesuits. These extensions project outside of the artworks frame, creating a Tromp L’oeil effect that deceives the eye to perceive the art as part of the actual architecture, or three-dimensional. The painting is done in a linear, atmospheric perspective that is vertical, depicting the view of the heavens above as if beholding upward from earth.

The colors are bright, bold and dramatic with a spectrum of dark to light, symbolic of the scale that exists between good and evil. At the center of the fresco is a radial gradient of vivid yellow’s and oranges, which comprise the Sun and is symbolic of the presence, manifestation, and/or spirit of Jesus in all his heavenly glory. One can almost feel the penetrating heat of the Sun emanating from this marvelous ceiling due to Gaulli’s exquisite implementation of Tromp l’oeil. The acronym I.H.S. is emblazoned at the center of this bright Sun, which is the Greek abbreviation of the name of Jesus commonly referred to as The Christogram.

There is a three-part gradation of color extending perceivably downward from this Sun. The first is a realm of warm yellow and orange, with Cherub’s parading in the scene as the main characters. The second is a warmer array of pastels, with the characters dressed to decorum possessing objects, which give an iconographic and iconological meaning and codification to these characters. The third and last in the gradation is the darker realm of colors, primarily dark red and orange tints, representing the lower class of society, or “the damned” as referenced within the title. This gradation creates a very pleasant palette of color, contributing to the atmospheric perspective of the overall composition, giving the ceiling more depth than there actually is.

The characters that comprise the overall scene are painted in a linear style, with facial expressions clearly discernable, easily conveying an array of emotions ranging between pleasure and pain, and beautiful garments that conform to the laws of physics. There is a multiplicity in the work, in that each character reacts individually, each character’s reaction is meant to embody his/her own innate personality and virtues. The style is recognized as being of the Baroque period, but can reflect that of the High Renaissance period as well.

Gaulli’s work conforms nicely to Aristotle’s guidelines of Istoria, in that it is done in a linear perspective where size diminishes relative to distance, as well as the measure of each character’s bodily proportions. It embodies Neo-Platonism in that the theme represents a belief in the divine essence of God as the ultimate source of Good, for its naturalistic form, the linear and atmospheric perspective, and the exquisite symmetry, balance and proportion. These aesthetic elements comprise this dramatic scene that lucidly reflect the Psychomachia, a battle of the spirit or mind, manifesting in conflicting notions and impulses of vice and virtue, good and evil, and in this case specifically, the eternal reward of heaven and hell.

Argument:

“There is no objective method for uncovering knowledge. This is because meaning and signs are cultural, and culture varies according to time and place.”

Jacques Derrida

Derrida contended that in the search for truth there is no hope for an objective method. This is due to the pluralism of culture, and semiotics concurrence with Derrida that meaning and signs are in fact cultural. The Triumph… with the emblazoned Cross of Christianity affixed spot center of the radiating Sun, offers an objective method for uncovering knowledge; it is quite simply the choice between good and evil. Gaulli depicts Derrida’s “search for truth” in the psychomachia of a choice between two vague extremes.

Whether believer or atheist, Jew or Gentile, old or new historical art, the extremes of good and evil are universal and invincible. The variance of culture relative to time is also a certainty, yet despite this variance and changing face of culture, the theme of The Triumph… remains a constant. In the most remote corners of the worlds vastness (lest we use the separatist, divisive term “non-West” or primitive), and the Western, colonialized world alike, good and evil is universal and has been since the dawn of time. The question of whether good prevails over evil is where the true discourse and scrutiny of good and evil exists.

A Deconstruction analysis of The Triumph… would examine the meanings of heaven as opposed to hell, triumph as opposed to damnation, and most importantly the acronym I.H.S, the Christogram as the Alpha and Omega, triumphant and ultimate source of good. This examination would reveal the “difference” in the meanings of these languages (or as related to art, symbolisms) in relation to culture and time. There is a gap in the meaning of heaven and hell, good and evil. One cultures interpretation of these monolithic themes may differ, but in concept they remain virtually the same. The beauty of this fresco accounts for this disparity in that the simultaneity of color gradation (pale yellow to dark tints) and shifts of emotions (ecstasy, vs. and anguish, torment) symbolizes the grey area that exists between good and evil. Regardless of the religion, the true intent is a search for an understandable truth. According to Pew research conducted in 2014, 89% of U.S. adults say that they believe in “God or a universal spirit”. Nearly one-in-ten (9%) say they don’t believe in God. Religious switching is a common occurrence in America, with statistics showing that 42% of U.S. adults have changed their religion. This number accounts for switching between Protestant traditions.[1]

Yet, in spite of these statistics, the meaning of heaven and hell remain the same. The meaning or “sign” of heaven conjures the good in us all. If each person on earth had a different view or picture of heaven, the universality of each view would be the very concept itself. Therefore, Gaulli’s masterpiece achieved universality in the central theme of the work, in that the concept of a divine reward for a life well lived and punishment for a less virtuous life is replete in the history of man, religious or secular. Furthermore, according to Pew research, approximately seven-in-ten (72%) of Americans say they believe in heaven — defined as a place “where people who have led good lives are eternally rewarded”.[2] Of course, these numbers represent only the colonialized West and not the non-West remainder of the World. Nevertheless, it is clear to see that Gaulli’s choice of imagery and theme, whether ordained by Gian Paolo Olivia, (newly elected General of The Jesuit Order who commissioned the work) or self-conceived, it was an impeccable conception whose message served it’s time and for the generations that would come. In a Deconstruction analysis, the meaning of The Triumph… we see both the meaning of the work as well as the rationality for it. The Jesuit Order, in an attempt to expand the Christian Empire and bring souls to the saving grace of Christ, through art appealed to the senses of the patrons. The viewer, when beholding the wonder of this artwork, undergoes a catharsis, purging emotions and provoking the mind to ponder good, evil, and the reward/consequence of both. In any case, the “language” of heaven and hell, triumph and damnation are what ultimately come into focus under the scope of Deconstruction in that they are the vehicles used to influence the masses. In Acts of Religion, Jacques Derrida suggests a reconsideration of the language commonly used to speak about religion in any cultural context. He gives examples of paradoxes, which question the dichotomy (let alone opposition) between reason and religion, and of knowledge and belief.

According to Derrida, “As to the future of a religion, the question of number concerns as much the quantity of “populations” as the living indemnity of “peoples”. This does not merely signify that the religious factor has to be taken into account, but the manner in which the faithful are counted must be changed in an age of globalization.”[3] This sentiment reflects the culture of the 19th century but can be applied to the 17th century as well. Much controversy abounded due to the graphic nature and subject matter of this work. It was offensive in that it banished all non-believers to eternal damnation and counted only a certain few to prosperity and eternal life. Or did it? The “damned” in the fresco are actually depicted metaphorically, with mythological creatures, symbolic of a life absent of knowledge and reason. Nevertheless, in Deconstructing The Triumph… we see a work of art based on knowledge and reason just as much as on religion and belief. Although the true intentions of the Jesuits and Gaulli may be questionable, the end result is artwork that contextually, in terms of theme, meaning, and language (or symbols) remains the same cross-culturally. This rare universality in light of cultural pluralism should solidify Gaulli’s fresco as a masterpiece for the ages, however Postmodernist sentiment would beg to differ, and an argument I hope to outline in the following paragraphs.

Application:

The complexity of art history is such that involves a pluralism of multiple peoples, which all have their own accounts of history and religion. However, the most recognized, accepted and disseminated history is that which do those in power tell. Religion and history are so much in common because they both tell the story of history, but from different perspectives. These perspectives, (for these very same purposes of differentiating the histories told from between these perspectives) have been traditionally categorized as the religious and the secular. The history presented in The Triumph… is a religious historical perspective that functions, through the miracle of art, as inspiration, and council to the secular. In Deconstructing this artwork, the intention revealed is a desire by the Jesuit Church to establish the cornerstone of Christ as the central religious figure in World, persuade the masses to seek a virtuous life, and warn of the ramifications of both not accepting Christ as Messiah, and going against the power of the Jesuit Church. In a time where religion functioned as the disciplinarian of culture, I find the efforts of Gaulli and the Jesuit Church rather noble, worthy to be emulated, and an example of how art can be positively influential in the establishment of “nation-states”.[1] This Deconstruction of Gaulli’s work reveals a satisfactory attempt by a religious institution influence within man a desire to choose what is “good”. It has the distinct characteristic of vagueness while at the same time sternly direct; vague in the sense that it’s narrative does not distinguish which particular sins will be damned, but is a generalization through mythological iconology of that which simply is not good, in which case the spectator is left to question their own morality and virtues.

This choice between good and evil, the psychomachia of which is depicted in Gaulli’s work, however, is work whose narrative claims authority on all of human existence. The central male figure, Jesus Christ is depicted as “The” triumphant King of the world, and of the entire universe. The damnation of those who do not choose, not only between good and evil, but more importantly of Christ as King is subject to opposition because it ignores the worlds countless religions, which make the same claim of its major figures. This denial of alternate voices that claim a true path to good, and methods of avoiding evil, is what Postmodernists claim is the bondage of the “master narrative, which Postmodernist valiantly battle against within the discourse of art history. One culture, or religion in this case (the difference in which is the subject of another, greater debate) cannot choose the path of the entire world, much less direct and influence the liberty to choose within a particular culture or society. Surely, there were other religions, other ideologies present during the Jesuit reign that conflicted in belief with Christianity, but our manipulated accounts of history neglect to make mention of them. The purpose for the commission of this piece, other than to make more pulchritudinous the ceiling of the great Church of the Gesù, would be considered through the scope of postmodernist view as propaganda to extend the magnificence of Christianity, and banish all heathens to eternal damnation. Even in acknowledgement of the fact that the central message is the cliché battle of good vs. evil, it is the building of a structure art historians have grown to refer to as the master narrative, which Postmodernist thought wishes to obliterate, or at least disrupt depending on the level of conviction within the postmodernist.

Explanation of Chosen Theories:

The Postmodern thinker Georg Hegel was an advocate of freedom for all man, a German idealist who was renowned in his day. According to Hegel, when the principle of freedom first dawned on man, it broadened our horizons with new strength and new opportunities. In the present 21st Century, one can only concur. The concepts of freedom and epistemology were gaining momentum through the latest developments of Immanuel Kant, which help influence the concepts of Hegel’s postmodern thought. Gaulli’s work epitomizes what Postmodern thought wishes to overturn, in that the network of images and signs that represent salvation, damnation, good and evil are a Hyperreality, a reality established by the founders of Christianity that has no external referent to validate its sovereignty. Gaulli’s The Triumph… then becomes a manipulation of the will of men, and an opposition by an institution of power to repress freedom of religion, the right for a person’s individuality to choose between right and wrong.

The term postmodern came to the lexicon of art history through the efforts of philosopher Jean-François Lyotard. It is quite simple to assess what Lyotard’s analysis of Gaulli’s work would, minus what claims he would make towards its aesthetic appeal. The fact that the name of Christ, represented in the work’s composition as an acronym, a Greek, Western abbreviation, is the absolute symbol representing an “all-encompassing [truth] that claim[s] to explain everything”[1], is evidence enough to assert that Lyotard with disclaim the Deconstructed meaning of this masterpiece. Art such as this is irrelevant in postmodern sentiment, in that it fails in its attempt at a totalizing concept of Humanism. Furthermore, it fails to account for the pluralism and chameleon-like personality of culture, that through progression seems to modify its practices and ideologies.

Derrida’s claim that structures fail in representing intrinsic, universal truth however can be disputed within the context of Gaulli’s work. The representation of heaven and hell, light and darkness, as a universal truth representing the aspect of “consequence” has been effective, as evident in the aforementioned statistics, which state that most people still do believe in heaven or hell, whether literally or figuratively. Hence, through Deconstructing Gaulli’s masterpiece, we encounter a situation where the human construction (through Divine inspiration) of heaven and hell is rational, and an essential truth, however it fails to acknowledge the diversity and pluralism of Humanism itself, and is instead Jesuit propaganda, a power move to advance the kingdom of Christianity to the four corners of the world.

Conclusion:

My choice of Gaulli’s, The Triumph of the Name of Jesus and the Fall of the Damned represents two aspects of my inquisitive nature. One is a search for a truth I can ascertain; the other is a longing to find balance on the perplexing scale of the religious and the secular or scientific. In my youngest years, I had only the definition of the word as an understanding of “truth” that matured when I learned of the contributions of great thinkers, such as Marx, Hegel, Derrida, and Lyotard, for these intents and purposes. I remember quite initially beholding this masterpiece, and how in awe I was. It purged emotions in me that at the time were unexplained and unbridled, and I immediately exclaimed how this work would resonate in my mind as of personal favorites of all time. Nevertheless, in this present state, after growing to understand the concepts of Hyperreality, Deconstruction, Postmodernist thought, and all the methodologies and theories at the disposal of the art historian that I come to acknowledge the variability of perception. Consider that all peoples and people are individuals and individual, each with perceptions that are unique and authentic. Then consider that each individual has variability within their own perception, multiple ways in which to perceive truth and reality. The truth is there is no universal truth.

The truth is an illusion, hidden, nestled in the crevices of an uncertain future, waiting to be discovered and determined. Once mankind finds he has a grasp of a certain truth, it transforms into another dimension of complexity, opening doors to even more unanswered questions. This dynamic has manifested itself in my admiration of Gaulli’s masterpiece. It will always hold a dear place in my heart and soul that longs for the Divine, and in the Neo-Platonist, Humanist rationale of my intelligence. However, all these aside, as a historian it is imperative to acknowledge and eloquently disseminate that which Deconstruction and Postmodernist’s critical analysis reveal, which certain times, and in this case, can be perceived as an abuse and misappropriation of the grandest of God’s divine gifts, which is art.

Footnotes:

[1] Anna Glaze, “Module 6: Postmodernism—Conditions and Practice.”, Session: 4

[1] Donald Preziosi, “Epilogue: The Art of Art History”, The Art of Art History: A Critical Anthology, (Oxford & London: Oxford University Press, 1998, 2009) 495

[1] Michael Lipka, “10 facts about religion in America” http://www.pewresearch.org/fact-tank/2015/08/27/10-facts-about-religion-in-america/, 2015, August 27

[2] Carlyle Murphy, “Most Americans believe in heaven … and hell”, http://www.pewresearch.org/fact-tank/2015/11/10/most-americans-believe-in-heaven-and-hell/, 2015, November 10

[3] Christopher D. Kilgore, “Jacques Derrida: Acts of Religion”, The University of Iowa: Iowa Journal of Cultural Studies, https://uiowa.edu/ijcs/review-essay-jacques-derrida-acts-religion, 2005

Bibliography:

1. Derrida, Jacques, and Gil Anidjar. Acts of Religion. New York: Routledge, 2010.

2. Enggass, Robert. The Religious Paintings of Giovanni Battista Gaulli. Ann Arbor, MI: UMI, 1997.

3. Glaze, Anna, “Module 6: Postmodernism—Conditions and Practice.” Academy of Art University, AHS 600 – Art History Methodologies & Theory, online. San Francisco: Academy of Art University, 2017.

4. Preziosi, Donald. The art of art history: a critical anthology. Oxford: Oxford University Press, 2009.