Seduction, E. O. Hoppé.
Luca Giordano - The Fall of the Rebel Angels; Kunthistorisches Museum, Vienna, Austria; 1666
Giordano sets the scene with relatively few figures compared to, say, Rubens’ Great Last Judgement. Against a background of deep golden light, the archangel balances with an almost balletic movement on the heavy breast of Lucifer, entangled amidst a group of his servants, his angular and batlike wings cutting through the hazy sfumato of the hellfire. What appears at first glance to be so dramatic is not in fact the depiction of a struggle as such. Michael is not attacking the figures from hell with his sword, but is holding it aloft like a sign, as though his mere appearance were enough to cast Satan and his followers into eternal damnation.
smushing my own face….