Giambattista Tiepolo

Jean-Baptiste Tiépolo or Giovanni Battista Tiepolo (Venice, March 5th, 1696 - Madrid, March 27th, 1770) is a painter Rococo and an engraver typical Italy N of the circulation of the artists in the Europe of the Lights.

Knowing a great success for its works of Venice and Bergamo he managed to move away from the academism.

Biography

The last of six wire of Domenico Tiepolo, captain of a trading vessel, and his wife Orsetta, it becomes orphan of father at one year.

Raise Gregorio Lazzarini, it is influenced more by Sebastiano Ricci and Giovanni Battista Piazzetta. In 1715, it achieves its first important work, the Sacrifice of Isaac and it leaves the workshop of Lazzarini in 1717 and is received with the guide of the painters.

He marries Cecilia Guardi in 1719, the sister of the Venetian painters rococo Gianantonio Guardi, Nicolò Guardi and Francesco Guardi and they will have ten wire, including four girls and 3 boys will survive of which Giandomenico and Lorenzo which will be its assistants. The couple will reside up to 1734, in San Francesco della Vigna, close to the Contarini Palate.

A patrician of Udine, Dionisio Delfino, commissioned for the decoration of the frescos of the vault and the palate (1726-1728). The first masterpieces of Tiepolo to Venice are a cycle enormous painted fabrics of battles and ancient triumphs to decorate a big room with reception of Ca' Dolfin in Venice (Ca 1726-1729).

He becomes a painter requested and prolific: He paints fabrics for the churches of Verolanuova (1735-40), for the Scuola dei Carmini (1740-47), and of Scalzi (1743-1744), a ceiling for the Archinto palates and Casati-Dugnani with Milan (1731), the vault of Colleoni with Bergamo (1732-1733), a ceiling for the Jesuits (Santa Maria del Rosario) in Venice (1737-39), in Palazzo Clerici in Milan (1740), decorations for the Cordellini villa in Montecchio Maggiore (1743-1744) and for the ballroom to the Palazzo Labia, showing the history of Cléopatre (1745-1750).

On the invitation of the prince-bishop Charles Philippe de Greiffenclau, it leaves with its two sons to Würzburg where there will remain three years, and there carries out with them the decoration of the living room of its new residence, then of the immense ceiling of the monumental staircase of Johann Balthasar Neumann. Its Allegory of planets and the continents Apollo watch, in its daily race, with the gods symbolizing planets, the allegorical figures on the cornice represent the four continents, of which America. It also paints the frescos of the living room of Kaisersaal.

Returned in Venice in 1753, Tiepolo is famous locally and also abroad like Russia or England. He is elected president of the academy of Padoue and he achieves frescos for the churches: the Triumph of the faith for the church della Pietà, the frescos for Ca' Rezzonico, paintings for villas of patricians in the Venetian countryside, such as the Villa Valmarana of Vicenza and a large panegyrical ceiling for the Villa Pisani with Stra.

It continues the frescos of Cléopatre to Palazzo Labia with the Meeting of Antoine and Cléopatre , the Banquet of Cléopatre and a central ceiling with the Triumph of Bellerophon over time . It associates the services of a Master in prospect, Girolamo Mengozzi Colonna.

In 1761, the king Charles III of Spain commissions it for a fresco of ceiling of the Apotheosis of Spain for the royal palace of Madrid. To the beginning of the year 1762, it leaves for Madrid where it will incur the jealousy and the opposition of Anton Raphael Mengs.

It will finish its life there.

Excel painter, it influenced Goya through a notable technique which had a great recognition besides thereafter: the light, “the lighting” of precise parts of the table by clear colors allowing to emphasize impressions or ideas, the such purity or the divine one.

The topics approached almost always comprise an allusion to died and the magic.

Works

Before 1740

  • the Martyrdom of Saint Bartholomée (1722), San Stae Venice
  • the removal of Europe (C. 1725), Gallery dell' Accademia Venice
  • Allegory of the capacity of the Eloquence (C. 1725) Courtauld Institute, Modello for Palazzo Sandi, Venice
  • Frescos (1726), Episcopal de luxe hotel, Udine
  • Persée and Andromède (1730), Frick Museum
  • Education of the Virgin (1732), S. Maria della Consolazione (Fava), Venice
  • Angel helping Hagar (1732), Scuola di San Rocco, Venice
  • Sermon of saint Jean Baptist (1732-1733), Cappella Colleoni, Bergamo
  • Decapitation of saint Jean Baptist (1732-1733), Cappella Colleoni, Bergamo
  • Plague of the snakes (1732-1735), Gallery dell' Accademia, Venice
  • Joseph receiving the ring of Pharaon (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
  • the pope Clement adoring the Trinity (1737-1738), Alte Pinakothek, Munich
  • the Rosary (1737-1739), Santa Maria del Rosario (Gesuati), Venice
  • Way of cross (1737-1738), Sant' Alvise, Venice
  • the Madonna of Carmel (1730 ') Pinacoteca di Brera, Milan
  • Virgin with six saints (1737-1740), Museum off Fine Arts, Budapest

From 1740 to 1750

  • the Virgin appearing in Saint Philippe Neri (1740), Museo Diocesano, Camerino
  • Harvest of the basket (1740-1742), Parrocchiale, Verolanuova
  • Sacrifice of Melchizedek (1740-1742), Parrocchiale, Verolanuova
  • Virtue and Nobility pushing back Ignorance in the airs (1743), Dulwich Picture Gallery (model for the Cordellina Villa in Montecchio Maggiore)
  • Banquet of Cléopatre (1743-1744), National Gallery off Victoria, Melbourne
  • Admirers (1743-1745), Gallery dell' Accademia, Venice
  • Apollo and Daphne (1744-1745), Museum of Louvre, Paris
  • Discovered True Cross (c.1745), Gallery dell' Accademia, Venice
  • Frescos of the History of Cléopatre (1746), Palazzo Labia, Venice
  • the Virgin appearing to the Dominican saints (1747-1748), Santa Maria del Rosario (Gesuati), Venice
  • the Last communion of holy Lucie (1747-1748), Santi Apostoli, Venice
  • Holy Jean the Large one overcoming the Moors (1749-1750), Museum off Fine Arts, Budapest

After 1750

  • Frescos (1751-1753), Residenz, Wurzburg
  • Harvest of the basket (1751), National Museum off Serbia, Belgrade
  • Allegory of Planets and the Continents (1752), Metropolitan Museum off Art, New York
  • Died of Hyacinthe (1752-1753), Thyssen-Bornemisza Collection, Madrid
  • Worship of the Magi (1753), Alte Pinakothek, Munich
  • Crowning of the Virgin (1754), Kimbell Art Museum, Dallas (modelo for Ospedale della Pietà)
  • Allegory with Come and Time (1754-1758), National Gallery, London
  • Frescos of Roman mythology from Romance mythology (1757), Valmarana Villa, Vicenza
  • a sitted man and a girl with a jug (c.1755), National Gallery, London
  • theological Virtues (c.1755), Royal Museums of the Art schools, Brussels
  • Martyrdom of holy Agathe (c.1756), Staatliche Museen, Berlin
  • Allegory of the merit accompanied by the Nobility and the Virtue (1757-1758), Museo del Settecento Veneziano, Ca' Rezzonico, Venice
  • Vision of Holy Anne (1759), Gemäldegalerie, Dresden
  • Madonna of Goldfinch (c.1760), National Gallery off Art, Washington
  • young woman with the parrot (1760-1761), Ashmolean Museum, Oxford
  • Apotheosis of the family Pisani (1761-1762), Pisani Villa, Stra
  • Holy Charles Borromée (1767-1769), Cincinnati Art Museum
  • Immaculate Conception (1767-1769), Museo del Prado, Madrid
  • Glory of Spain (1762-1766), Throne Room off Royal Palace off Madrid
  • Apotheosis of Spanish monarchy (1762-1766), Queen' S Antechamber, Palacio Real, Madrid
  • Come and Vulcan (1762-1766), Halberdiers' Room, Palacio Real, Madrid

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