Giovanni Battista Tiepolo: Difference between revisions
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==Biography== |
==Biography== |
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=== Πρόωρη ζωή (1696-1726) === |
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Γεννημμένος στη Βενετία,ο Τιέπολο ήταν ο μικρότερος από τα έξι παιδιά που γεννήθηκαν από Orsetta, Tiepolo μητέρα και ο πατέρας του, Domenico Tiepolo, ένας καπετάνιος θάλασσα. Ενώ το επώνυμο Tiepolo ανήκει σε [[patricianship | πατρίκιος]] οικογένειας, ο πατέρας του Giambattista δεν ισχυρίστηκε ότι το καθεστώς πατρίκιος. Το μέλλον καλλιτέχνης είχε βαπτιστεί στην ενοριακή εκκλησία του ([[San Pietro di Castello (εκκλησία) | San Pietro di Castello]]) ως''Giovanni Battista'', προς τιμήν του [[godparent | νονός]], ένα βενετσιάνικο ευπατρίδης κάλεσε Giovanni Battista Doria. Domenico Ο πατέρας του πέθανε ένα χρόνο μετά τη γέννησή του, αφήνοντας Orsetta σε δύσκολες οικονομικές συνθήκες. |
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Giambattista |
Giambattista ήταν αρχικά μαθητής του [[Gregorio Lazzarini]], αλλά οι επιρροές από πρεσβύτερος συγχρόνους όπως [[Sebastiano Ricci]] και [[Giovanni Battista Piazzetta]] είναι ισχυρότερη στο έργο του. Στα 19 ετών, Tiepolo ολοκλήρωσε την πρώτη του μεγάλη προμήθειά του, το''θυσία του Ισαάκ''(τώρα στο [[Accademia]]). Έφυγε Lazzarini στούντιο το 1717, και έγινε δεκτός στο [[Fraglia]] ή συντεχνία των ζωγράφων. |
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Το 1719, Tiepolo ήταν παντρεμένος με τη Μαρία Cecilia Guardi, αδελφή των δύο σύγχρονων ζωγράφων Ενετικό [[Francesco Guardi | Francesco]] και [[Giovanni Antonio Guardi]]. Μαζί, Tiepolo και η σύζυγός του είχε εννέα παιδιά. Τέσσερις κόρες και τρεις γιους επέζησαν παιδική ηλικία. Δύο γιους, [[Giovanni Domenico Tiepolo | Domenico]] και [[Lorenzo Baldissera Tiepolo | Lorenzo]], ζωγραφισμένο με αυτόν ως βοηθούς του και να επιτευχθεί κάποια ανεξάρτητη αναγνώριση. Τρίτου γιος του έγινε ιερέας. |
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===Early mature work (1726-50)=== |
===Early mature work (1726-50)=== |
Revision as of 16:56, 8 March 2010
- See also Giovanni Domenico Tiepolo (or Giandomenico Tiepolo); or Lorenzo Baldissera Tiepolo, both sons of Giovanni Battista.
Giovanni Battista Tiepolo (March 5, 1696 – March 27, 1770), also known as Gianbattista or Giambattista Tiepolo, was a Venetian painter and printmaker. He was prolific, and worked not only in the region of Veneto or Venetia, one of Italy's twenty regions, but also in Germany and Spain.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/The_Death_of_Hyacinth.jpg/220px-The_Death_of_Hyacinth.jpg)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Giovanni_Battista_Tiepolo_034.jpg/220px-Giovanni_Battista_Tiepolo_034.jpg)
Biography
Πρόωρη ζωή (1696-1726)
Γεννημμένος στη Βενετία,ο Τιέπολο ήταν ο μικρότερος από τα έξι παιδιά που γεννήθηκαν από Orsetta, Tiepolo μητέρα και ο πατέρας του, Domenico Tiepolo, ένας καπετάνιος θάλασσα. Ενώ το επώνυμο Tiepolo ανήκει σε πατρίκιος οικογένειας, ο πατέρας του Giambattista δεν ισχυρίστηκε ότι το καθεστώς πατρίκιος. Το μέλλον καλλιτέχνης είχε βαπτιστεί στην ενοριακή εκκλησία του ( San Pietro di Castello) ωςGiovanni Battista, προς τιμήν του νονός, ένα βενετσιάνικο ευπατρίδης κάλεσε Giovanni Battista Doria. Domenico Ο πατέρας του πέθανε ένα χρόνο μετά τη γέννησή του, αφήνοντας Orsetta σε δύσκολες οικονομικές συνθήκες.
Giambattista ήταν αρχικά μαθητής του Gregorio Lazzarini, αλλά οι επιρροές από πρεσβύτερος συγχρόνους όπως Sebastiano Ricci και Giovanni Battista Piazzetta είναι ισχυρότερη στο έργο του. Στα 19 ετών, Tiepolo ολοκλήρωσε την πρώτη του μεγάλη προμήθειά του, τοθυσία του Ισαάκ(τώρα στο Accademia). Έφυγε Lazzarini στούντιο το 1717, και έγινε δεκτός στο Fraglia ή συντεχνία των ζωγράφων.
Το 1719, Tiepolo ήταν παντρεμένος με τη Μαρία Cecilia Guardi, αδελφή των δύο σύγχρονων ζωγράφων Ενετικό Francesco και Giovanni Antonio Guardi. Μαζί, Tiepolo και η σύζυγός του είχε εννέα παιδιά. Τέσσερις κόρες και τρεις γιους επέζησαν παιδική ηλικία. Δύο γιους, Domenico και Lorenzo, ζωγραφισμένο με αυτόν ως βοηθούς του και να επιτευχθεί κάποια ανεξάρτητη αναγνώριση. Τρίτου γιος του έγινε ιερέας.
Early mature work (1726-50)
A patrician from the Friulian town of Udine, Dionisio Delfino, commissioned a fresco decoration of the chapel and palace from the young Tiepolo (completed 1726-1728). Tiepolo's first masterpieces in Venice were a cycle of enormous canvases painted to decorate a large reception room of Ca' Dolfin on the Grand Canal of Venice (ca. 1726–1729), depicting ancient battles and triumph.
These early masterpieces, novel for Venetian frescoes in their luminosity, brought him many commissions. He painted canvases for churches such as that of Verolanuova (1735-40), for the Scuola dei Carmini (1740-47), and the Chiesa degli Scalzi (1743-1744; now destroyed) in Cannaregio, a ceiling for the Palazzi Archinto and Casati-Dugnani in Milan (1731), the Colleoni Chapel in Bergamo (1732-1733), a ceiling for the Gesuati (Santa Maria del Rosario) in Venice of St. Dominic Instituting the Rosary (1737-39), Palazzo Clerici, Milan (1740), decorations for Villa Cordellini at Montecchio Maggiore (1743-1744) and for the ballroom of the Palazzo Labia, now a television studio in Venice, showing the Story of Cleopatra (1745-1750).
Tiepolo frescoes the Würzburg Residenz (1750-53)
By 1750, Tiepolo's reputation was firmly established throughout Europe. That year, at the behest of Prince Bishop Karl Philip von Greiffenklau, he traveled to Würzburg where he resided for three years and executed ceiling paintings in the New Residenz palace (completed 1744). His painting for the grandiose Neumann-designed entrance staircase (Treppenhaus) is a massive ceiling fresco at 7287 square feet (677 m²), and was completed in collaboration with his sons, Giandomenico and Lorenzo[1]. His Allegory of the Planets and Continents depicts Apollo embarking on his daily course; deities around him symbolize the planets; allegorical figures (on the cornice) represent the four continents Europe, Asia, Africa and America. He included a self-portrait beside a portrait of his son Giandomenico in the Europe section of this fresco[2]. He also frescoed the Kaisersaal salon.
Return to Venice and Veneto (1753-1770)
Tiepolo returned to Venice in 1753. He was now in demand locally, as well as abroad where he was elected President of the Academy of Padua. He went on to complete theatrical frescoes for churches; the Triumph of Faith for the Chiesa della Pietà; panel frescos for Ca' Rezzonico (which now also holds his ceiling fresco from the Palazzo Barbarigo); and paintings for patrician villas in the Venetian countryside, such as Villa Valmarana in Vicenza and an elaborate panegyric ceiling for the now nearly-vacant Villa Pisani in Stra.
In celebrated frescoes at the Palazzo Labia, he depicted two frescoes on the life of Cleopatra: Meeting of Anthony and Cleopatra[1] and Banquet of Cleopatra,[2] as well as a central ceiling fresco depicts Triumph of Bellerophon over Time. He collaborated with an expert in perspective, Girolamo Mengozzi Colonna. Colonna who also designed sets for opera highlights the increasing tendency towards composition as a staged fiction in his frescoes. The architecture of theBanquet fresco also recalls Veronese's Wedding at Cannae. In 1757, he painted the altar piece commissioned by the family Thiene, the work represents the apotheosis of Saint Cajetan, the altar piece is in the church of hamlet of Rampazzo in the Camisano Vicentino.
Frescoes for the Royal Palace in Madrid
In 1761, Charles III commissioned Tiepolo to create a ceiling fresco to decorate the throne room of the Royal Palace of Madrid. The panegyric theme is the Apotheosis of Spain and has allegorical depictions recalling the dominance of Spain in the Americas and across the globe. In Spain, he incurred the jealousy and the bitter opposition of the rising champion of Neoclassicism, Anton Raphael Mengs.
Tiepolo died in Madrid on March 27, 1770.
After his death, the rise of stern Neoclassicism and the post-revolutionary decline of royal absolutism led to the slow decline of the Tiepolo style, but had failed to dent his reputation. By 1772, Tiepolo's son was sufficiently famous to be documented as painter to Doge Giovanni Cornaro, in charge of the decoration of Palazzo Mocenigo a San Polo.
Critical assessment and legacy
![]() | This section possibly contains original research. (May 2009) |
![](http://upload.wikimedia.org/wikipedia/commons/thumb/3/34/Giovanni_Battista_Tiepolo_-_Allegory_of_the_Planets_and_Continents.jpg/220px-Giovanni_Battista_Tiepolo_-_Allegory_of_the_Planets_and_Continents.jpg)
In his most fluid elaborations, Tiepolo has closest affinity to Ricci, Piazzetta, and Federico Bencovich. He is a shadowless fresco artist, a sunnier rococo Pietro da Cortona. His sumptuous historical set-pieces are enveloped in a regal luminosity. He is principally known for his fresco work, particularly his panegyric ceilings. These followed the Baroque tradition begun a century before by Pietro da Cortona, converting roof to painted sky, elevating petty aristocrats to divine status, and allowing for vast compositions that merged with the delicate ornamentation of the stucco frames. Like Luca Giordano, his palette was muted, almost water-color like. Like Giordano, he was prolific. With an unrivaled Sprezzatura, he painted worlds of fresco, and some such as the walls of Villa Valmarana in Vicenza, not only peer into the mythologic scenes, but are meant to relocate viewers into their midst. The earliest example of this is perhaps his canvases in the Ca' Dolfin, which allowed Tiepolo to introduce exuberant costumes, classical sculpture, and action that appears to spill from the frames into the room. Originally set into recesses, they were surrounded with frescoed frames.
While his painting is infused with the Venetian spirit, his luminosity is not seen in the previous masters; however, Tiepolo is considered the last "Olympian" painter of the Venetian Republic. Like Titian before him, Tiepolo was an international star, treasured by royalty far afield for his ability to depict glory in fresco.
His children painted figures with a design similar to that of their father, but with distinctive, including genre, styles.
List of works
Paintings before 1740
Work | Date | Location | Link |
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The Martyrdom of St. Bartholomew | 1722 | San Stae, Venice | |
The Rape of Europa | c. 1725 | Gallerie dell'Accademia, Venice | |
Allegory of the Power of Eloquence | c. 1725 | Courtauld Institute, Modello for Palazzo Sandi, Venice | |
Frescoes | 1726 | Episcopal palace, Udine | |
Perseus & Andromeda | 1730 | Frick Collection | |
Education of the Virgin | 1732 | S. Maria della Consolazione (Fava), Venice | |
Angel rescuing Hagar | 1732 | Scuola di San Rocco, Venice | |
John the Baptist preaching | 1732-1733 | Cappella Colleoni, Bergamo | |
Beheading of John the Baptist | 1732-1733 | Cappella Colleoni, Bergamo | |
Scourge of the Serpents | 1732-1735 | Gallerie dell'Accademia, Venice | |
Joseph receiving ring from pharaoh | 1732-1735 | Dulwich Picture Gallery | |
Triumph of Zephyr and Flora | 1734-1735 | Museo del Settecento Veneziano, Ca' Rezzonico, Venice | |
Jupiter and Danaë | 1736 | Universitet Konsthistoriska Institutionen, Stockholm | |
Pope St. Clement Adoring the Trinity | 1737-1738 | Alte Pinakothek, Munich | |
Saints Augustin, Louis de France, Jean l'evangeliste et un eveque | 1737-1738 | Palais des Beaux-Arts de Lille | |
Institution of the Rosary | 1737-1739 | Santa Maria del Rosario (Gesuati), Venice | |
Christ Carrying the Cross | 1737-1738 | Sant'Alvise, Venice | |
The Madonna of Mount Carmel | 1730s | Pinacoteca di Brera, Milan | |
Virgin with Six Saints | 1737-1740 | Museum of Fine Arts, Budapest |
Works from 1740-1750
Work | Date | Location | Link |
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The Virgin Appearing to St. Philip Neri | 1740 | Museo Diocesano, Camerino | |
The Gathering of Manna | 1740-1742 | Parrocchiale, Verolanuova | |
The Sacrifice of Melchizedek | 1740-1742 | Parrocchiale, Verolanuova | |
Virtue and Nobility putting Ignorance to Flight | 1743 | Norton Simon Museum(Pasadena, CA) | |
Empire of Flora | 1743 | The Legion of Honor(San Francisco, CA) | |
Time Unveiling Truth | c. 1743 | Museo Civico Palazzo Chiericati, Vicenza | |
The Banquet of Cleopatra | 1743 | National Gallery of Victoria, Melbourne | [3] |
Worshippers | 1743-1745 | Gallerie dell'Accademia, Venice | |
Apollo and Daphne | 1744-1745 | Musée du Louvre, Paris | |
Discovery of the True Cross | c. 1745 | Gallerie dell'Accademia, Venice | |
Time Unveiling Truth | c. 1745-1750 | Museum of Fine Arts, Boston | |
Frescoes of the story of Cleopatra | 1746 | Palazzo Labia, Venice | |
The Virgin with 3 female Dominican Saints | 1739-1748 | Santa Maria del Rosario (Gesuati), Venice | |
Last Communion of St. Lucy | 1747-1748 | Santi Apostoli, Venice | |
The Glorification of the Barbaro Family | 1749-1750 | Metropolitan Museum of Art, New York | |
St. James the Greater Conquering the Moors | 1749-1750 | Museum of Fine Arts, Budapest |
Works after 1750
Work | Date | Location | Link |
---|---|---|---|
Frescoes | 1751-1753 | Residenz, Wurzburg | |
Collecting Manna | c.1751 | National Museum of Serbia, Belgrade | |
Allegory of Planets and Continents | 1752 | Metropolitan Museum of Art, New York | |
The Death of Hyacinth | 1752-53 | Thyssen-Bornemisza Collection, Madrid | |
Adoration of the Magi | 1753 | Alte Pinakothek, Munich | |
Coronation of the Virgin | 1754 | Kimbell Art Museum, Dallas (modelo for Ospedale della Pietà) | |
An Allegory with Venus and Time | 1754-58 | National Gallery, London | |
Frescoes from Roman mythology | 1757 | Villa Valmarana, Vicenza | |
A Seated Man and a Girl with a Pitcher | c. 1755 | National Gallery, London | |
The Theological Virtues | c. 1755 | Musées Royaux des Beaux-Arts, Brussels | |
The Martyrdom of St. Agatha | c. 1756 | Staatliche Museen, Berlin | |
Allegory of Merit Accompanied by Nobility and Virtue | 1757-58 | Museo del Settecento Veneziano, Ca' Rezzonico, Venice | |
The Vision of St. Anne | 1759 | Gemäldegalerie, Dresden | |
Madonna of the Goldfinch | c. 1760 | National Gallery of Art, Washington | |
Woman with a Parrot | 1760-61 | Ashmolean Museum, Oxford | |
Apotheosis of the Pisani Family | 1761-62 | Villa Pisani, Stra | |
San Carlo Borromeo | 1767-1769 | Cincinnati Art Museum | |
The Immaculate Conception | 1767-1769 | Museo del Prado, Madrid | |
Glory of Spain | 1762-1766 | Throne Room of Royal Palace of Madrid | |
The Apotheosis of the Spanish Monarchy | 1762-1766 | Queen's Antechamber, Palacio Real, Madrid | |
Venus and Vulcan | 1762-1766 | Halberdiers' Room, Palacio Real, Madrid |
References
- ^ Michael Levey, Painting in Eighteenth-Century Venice, rev. ed., Cornell University Press, 1980, 225-230
- ^ http://www.residenz-wuerzburg.de/englisch/residenz/treppe05.htm
Further reading
- Barcham, William L. (1992). Giambattista Tiepolo. Thames and Hudson. ISBN 0-500-08054-2.
- Rizzi, Aldo (1971). The etchings of the Tiepolos. Electa. ISBN 0714814997.
- Aldo Rizzi, Il Tiepolo all'Arcivescovado di Udine, Milano 1965.
- Aldo Rizzi, Tiepolo a Udine, Milano 1969.
- Aldo Rizzi, le acqueforti dei Tiepolo, Milano, 1970.
- Aldo Rizzi, La grafica del Tiepolo: le acqueforti, Milano 1971.
- Aldo Rizzi, La mostra del Tiepolo, Milano 1971.
- Aldo Rizzi, Giambattista Tiepolo, Milano 1990.
- Aldo Rizzi, I Tiepolo a Udine, Milano 1996.
External links
![](http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/38px-Wikisource-logo.svg.png)