Andrea dal Pozzo was a famous Italian Jesuit painter, architect, stage designer and art theoretician
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Andrea dal Pozzo was a famous Italian Jesuit painter, architect, stage designer and art theoretician
Andrea Pozzo born at
Pozzo died in Vienna in 1709 before he could return to Italy to design a new church. He was 67 at the time of his death.
He was buried with public honors in one of the Jesuit churches that he designed in Vienna.
His brother, Giuseppe Pozzo was a friar and a painter. He is famous for the design of the high altar of the Church of the ‘Scalzi’.
Pozzo was born in Trento, Italy, on November 30, 1642.
From 1661 to 1662, he was a novice in the order of Discalced Carmelites at Convento dell Laste, near Trento.
He studied Humanities at the local Jesuit High School.
Pozzo showed artistic inclinations from a very young age. At the age of 17, his father sent him for artistic training.
Records show that he initially trained under Palma il Giovane.
In 1675, Pozzo designed the frescoes at the Chiesa del SS. Martiri in Turin and also the frescoes at the church of San Francisco Saverio in Mondovi.
In 1676, Pozzo designed his first large fresco in the San Francis Xavier church in Mondovì. He followed the trompe-l'oeil technique which included false gilding, bronze-colored statues, marbled columns and a dome on a flat ceiling.
In 1678, he painted the ceiling of the Jesuit church of SS. Martiri in Turin. These frescoes were later replaced by new paintings because of their ruinous conditions.
In 1681, Andrea Pozzo was called to Rome by the Jesuit Superior General Padre Oliva, superior general of the Jesuits.
He gained a reputation for his designing of the Roman frescoes portraying the life of St. Ignatius in the ‘Camere di San Ignazio’ (1681-1686) in the corridor which linked the Church of the Gesù to the rooms of the saint.
Pozzo’s accredited masterpiece is the ceiling fresco painting ‘Allegory of the Missionary Work of the Jesuits’ (1685-94) in the Church of S.Ignazio in Rome. The painting celebrates the missionary activities of the Jesuit sect and their goals of expanding Roman Catholicism. This was symbolic of the high Roman Baroque art and combined architecture and painting to create a breathtaking manifestation. This fresco became an exemplary representation of the Catholic counter-Reformation Art.
His second major work is the ceiling fresco ‘Admittance of Hercules to Olympus’ of the Hercules Hall of the Liechtenstein garden palace. This illusionist painting depicts Olympian Gods who seem to be floating, a magnificent feat in perspective.