In his painting The Fall of the Rebel Angels (c. 1660–1665), Luca Giordano stages a violent and dramatic cosmic battle that vividly embodies the conflict between divine light and infernal chaos. The work is divided into two contrasting zones: the upper half glows with light and serene colours, reflecting Giordano’s assimilation of Venetian painting traditions, whereas the lower half is plunged into darkness and writhing agony — a chiaroscuro rooted in the Neapolitan Baroque lineage of Jusepe de Ribera and his followers. The central figure, the archangel (traditionally Michael the Archangel), stands triumphant with extended wings and raised sword, dominating a tumult of contorted demonic bodies — an embodiment of divine order smashing rebellious pride. Through dynamic composition, stark contrasts of light and shadow, and a sweeping gesture of celestial justice, the painting becomes not only a visual spectacle but a symbolic affirmation of a moral universe in which rebellion is met with inevitable divine retribution.
- Title The Fall of the Rebel Angels (La caduta degli angeli ribelli)
- Artist Luca Giordano (Neapolitan late-Baroque painter, draughtsman and printmaker, known as "Luca Fa Presto" and "Proteus"; Naples, 18 October 1634 - Naples, 12 January 1705; pupil of Jusepe de Ribera in Naples; court painter to King Charles II of Spain at Madrid 1692-1702)
- Year of creation 1660-1665 (sometimes catalogued more broadly c. 1666; painted most probably during Giordano's Venetian period. The picture is a tour-de-force display of Giordano's celebrated stylistic versatility — the trait that earned him his contemporary nicknames "Luca Fa Presto" [Luke Work Fast] and Proteus, since he could shift styles between and even within a single canvas at will. In the upper register, the figure of the Archangel Michael — descending with great spread white wings, blue tunic accented with gold, a flowing red cape and golden hair, sword raised high, expression serene yet implacable — is treated as a graceful Classical-Roman figure painted in thin, fluid, Venetian glazes recalling Veronese and Titian, with all the elegant nobility of late Cinquecento Venetian altarpieces. In the lower register, by sharp contrast, the writhing mass of fallen rebel angels and demons tumbling toward the infernal fires below is rendered with thick, restless, pastose impasto in a tenebrist chiaroscuro derived from Caravaggio and especially from Giordano's first master in Naples, Jusepe de Ribera. The red of the fires of Hell is reflected on the demons' tortured bodies — a deliberate optical and symbolic effect — while St Michael fights with effortless, elegant Classical poise. Giordano returned to the subject several times: a slightly earlier 1663 version is now at the Gemäldegalerie, Berlin, and differs principally in the pose of the saint. Giordano was the supreme Neapolitan late-Baroque master, court painter to Charles II of Spain from 1692 to 1702, and one of the most prolific and stylistically protean painters of the entire seventeenth century)
- Technique/Medium Oil on canvas
- Original dimensions Kunsthistorisches Museum, Vienna (donated in 1698 by the barons Bartolotti von Partenfeld for the new altar of the chapel of St Louis in Vienna's Minorite Church, which they had just renovated in the late seventeenth century; the original altarpiece commission is unknown, but the painting was brought to Vienna at an early date and entered the imperial collections from the Minoritenkirche)
- Collection/Museum Kunsthistorisches Museum, Vienna (donated in 1698 by the barons Bartolotti von Partenfeld for the new altar of the chapel of St Louis in Vienna's Minorite Church, which they had just renovated in the late seventeenth century; the original altarpiece commission is unknown, but the painting was brought to Vienna at an early date and entered the imperial collections from the Minoritenkirche)
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