Giambattista Pittoni

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Giambattista Pittoni
Pittoni Bacchus and Ariadne.jpg
Born Giovanni Battista Pittoni
(1687-06-06)June 6, 1687
Venice, Republic of Venice (present-day Italy)
Died November 6, 1767(1767-11-06)
Known for painting
Notable work Sacred families and childs
Style late-Baroque or Rococo

Giambattista Pittoni or Giovanni Battista Pittoni (6 June 1687 – 6 November 1767) was a Italian painter of the late Baroque or Rococo period, and was active mainly in Venice. He was among the founders of the Academy of Fine Arts of Venice, and became its second president in 1758, succeeding Tiepolo.[1]

Biography[edit]

Pittoni was born in Venice, and studied painting under his uncle Francesco Pittoni and Antonio Balestra. Little is known of his early career. He entered the Venetian painters' guild in 1716. In 1722-1723, he was commissioned to paint the altarpiece depicting the Torture of St Thomas for the church of San Stae, which also contains one if his later works in its sacristy. He also completed the Glory of the Virgin for the church of Santa Maria in Organo in Verona in 1725. In 1727, he was appointed honorary Academic of the Accademia Clementina in Bologna.

In subsequent years, Pittoni never left his native Venice, but completed a number of important and lucrative commissions for German, Polish, Russian, Italian and Austrian patrons, including The Sacrifice of Jephthah's daughter for the Royal Palace of Turin, works for the Marshal von Schulenburg, and a Martyrdom of St Batholomew for the Basilica of Saint Anthony of Padua.

Vision of Saint Anthony of Padua, San Diego Museum, California, United States of America

By 1740, Pittoni established a studio and residence in the San Giacomo district of Venice, and took on numerous apprentices, including Francesco Busti. Pittoni was a co-founder of the official painter's academy in Venice (in competition to the old fraglia or painter's guild), the Accademia di Belle Arti di Venezia, and served as President during 1758–1761. Pittoni died at age 80 in Venice. His tomb is at the church of San Giacomo dall'Orio.

Pittoni came to be known for his "grand-manner" canvases depicting religious, historical, and mythological subjects. He was influenced by Piazetta, Sebastiano Ricci, Antonio Balestra, and Tiepolo, a younger contemporary. Pittoni's mature palette, like Tiepolo's, was notable for the light tones. His style emerged from a highly decorative Rococo style, but matured towards a more sober Neoclassicism.

Selected paintings[edit]

Pittoni never signed or dated his paintings.[citation needed]

  • In the Louvre Museum of Paris:
    • Christ grants Keys of Paradise to St Peter
    • Continence of Scipio (1733-1735).
    • Suzanne et les vieillards (1723-1725).
    • Tombeau allégorique de l'archevêque John Tillotson (1630-1694) (1726-1727).
    • Bacchus and Ariadne (1720-1725).
    • Mars and Venus (1720-1725).
    • Sacrifice of Polyxena at the Tomb of Achilles.
    • Dido founds Carthage.

Museum[edit]

Other museums with works by Pittoni include: Uffizi Gallery, Florence; Los Angeles County Museum of Art, Los Angeles; Southampton City Art Gallery, UK; São Paulo Museum of Art, Brazil; Samuel Henry Kress Foundation Collection; Newhouse Galleries, New York; Wallraf-Richartz Museum, Colon; Gemäldegalerie Museum, Berlin; Christchurch Art Gallery, New Zealand; National Gallery of Australia, Canberra; National Gallery of Victoria, Australia; New Walk Museum and Art Gallery, Leicester; Ca' Rezzonico - Museo del Settecento Veneziano, Venice; Kunsthistorisches Museum, Wien; Courtauld Institute, London, UK; Nationalmuseum, Stockholm; Ambrosiana, Milan; Minneapolis Institute of Arts, Minnesota; Walters Art Museum, Maryland; Baltimore Museum of Art, Maryland; J.B. Speed Art Museum, Louisville (KY); Walker Art Gallery, Liverpool; Galleria del Prague Castle, Prague; Hamburger Kunsthalle, Hamburg; Sartorio Civic Museum, Trieste; York City Art Gallery, York, UK; Saint Louis Art Museum, St Louis, Missouri; Nelson-Atkins Museum of Art, Kansas City, Museum; Moratilla, Paris; Oranienbaum, Russia China Palace, Russia.

Gallery[edit]

References[edit]

  1. ^ Elisa Viola (2005). L'Accademia di Venezia: i maestri, le collezioni, le sedi (in Italian). Venezia: Marsilio. ISBN 9788831786553. p. 28.

External links[edit]

Further reading[edit]

  • Katharine Baetjer, European Paintings in the Metropolitan Museum of Art by Artists Born Before 1865, Metropolitan Museum of Art, 1995
  • Ian Chilvers, The Oxford Dictionary of Art and Artists, Oxford University Press, Oxford, Uk, 2009
  • Jane Turner, The Dictionary of Art. 25, pp. 1–4. New York, Grove, 1996. ISBN 1-884446-00-0
  • F.Z. Boccazzi, Pittoni, Venice, 1979, pp. 138, 148 and 156, no. 96, fig. 376.
  • Franca Zava Boccazzi, Giambattista Pittoni, 1979
  • Annalisa Perissa Torrini, Disegni di Giovan Battista Pittoni, Electa, 1998
  • Giovanni Battista Pittoni (l'Ancien), Lodovico Dolce, Di Battista Pittoni pittore vicentino anno MDLXVIII Imprese di diuersi prencipi, duchi, signori, e d'altri personaggi et huomini letterati et illustri, 1568
  • Katharine Baetjer, J.G. Links, Canaletto, Metropolitan Museum of Art, 1989
  • M. Goering, G. B. Pittoni, Florence, 19
  • L. Goggiola, Pittoni artisti veneti, Bergamo 1907
  • R. Pallucchini, I disegni di G. B. Pittoni, Padova 1945
  • Franca Zava Boccazzi: Pittoni: L'opera completa. Venedig 1979
  • Alice Binion: I disegni di Giambattista Pittoni. Florence, La Nuova Italia 1983
  • H. Voss, Artikel Pittoni in Thieme, Becker Künstlerlexikon, XXVII, Lipsia 1933 (con ampia bibl.)
  • Rudolf Wittkower, Art and Architecture in Italy, 1600-1750, 1980, Pelican History of Art (Penguin Books Ltd)
  • M. Goering, Zur Kritik u. Datierung d. Werke ds G. B. P., in Mitt. d. kunstl Inst. in Florenz, IV (1934), pp. 201–48.34
  • Per la ricostruzione dell'opera di G. P., Rass. d'arte, XII (1912), pp. 20–27, 139-44
  • L'arte di G. P. in una serie di opere di lui, ibid., XIV (1914), pp. 169–81
  • G. B. P., Firenze 1921
  • Riv. della città di Venezia, 1927
  • Dedalo, VIII (1927–28), pp. 671–95
  • Pseudo influenza francese nell'arte di G. B. P., in Riv. d. Venezia, XII (1933), pp. 399–412 (con elenco completo delle opere e completa bibl.)
  • Altre opere inedite rivendicate o poco note di G. B. P., Venezia 1933 (con 43 illustr.)
  • Disegni inediti di G. B. P., in Riv. di Venezia, XIII (1934), pp. 263–90; G. Fogolari, in Boll. d'arte, 1907, p. 6 segg.; id., in Emporium, XXXVII (1913), pp. 222–27
  • In Arte sacra, 1914; id., in Strenna, 1924-25
  • G. Fiocco, in Riv. della città di Venezia, 1925, 1929
  • La pittura veneta del Sei e Settecento, Verona 1929
  • Francesco Maccarinelli, Le Glorie di Brescia raccolte dalle Pitture, Che nelle sue Chiese, Oratorii, Palazzi et altri luoghi publici sono esposte, Brescia 1747
  • Pier Virgilio Begni Redona, Pitture e sculture in San Nazaro e Celso in AA.VV., La collegiata insigne dei Santi Nazaro e Celso in Brescia, Editrice la Scuola, Brescia 1992