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Giovanni Battista Tiepolo
Italian Rococo Era Painter, 1696-1770
Giovanni Battista Tiepolo was born in Venice on March 5, 1696. His father, who was part owner of a ship, died when Tiepolo was scarcely a year old, but the family was left in comfortable circumstances. As a youth, he was apprenticed to Gregorio Lazzarini, a mediocre but fashionable painter known for his elaborately theatrical, rather grandiose compositions.
Tiepolo soon evolved a more spirited style of his own. By the time he was 20, he had exhibited his work independently, and won plaudits, at an exhibition held at the church of S. Rocco. The next year he became a member of the Fraglia, or painters guild. In 1719 he married Cecilia Guardi, whose brother Francesco was to become famous as a painter of the Venetian scene. They had nine children, among them Giovanni Domenico and Lorenzo Baldassare, who were also painters.
In the 1720s Tiepolo carried out many large-scale commissions on the northern Italian mainland. Of these the most important is the cycle of Old Testament scenes done for the patriarch of Aquileia, Daniele Dolfin, in the new Archbishop Palace at Udine. Here Tiepolo abandoned the dark hues that had characterized his early style and turned instead to the bright, sparkling colors that were to make him famous.
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Jupiter and Dana
1736 Oil on canvas Universitet Konsthistoriska Institutionen, StockholmArtist:TIEPOLO, Giovanni Battista Title: Jupiter and Dana? Painted in 1701-1750 , Italian - - painting : mythological
Painting ID:: 63759
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Jupiter_and_Dana
1736 Oil on canvas Universitet Konsthistoriska Institutionen, StockholmArtist:TIEPOLO, Giovanni Battista Title: Jupiter and Dana? Painted in 1701-1750 , Italian - - painting : mythological
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Apollo and the Continents
1752-53 Fresco, 1900 x 3050 cm Stairwell of the Residenz, W?rzburg The picture shows an overall view of the ceiling, photographed from below. The perspectival distortion at the edges of the overall view of the ceiling fresco tell us that this was never intended as a vantage point for the visitor. Instead, the fresco was to open out to the viewer as he ascended the staircase. Apollo is portrayed in the centre of the heavens, Venus and Mars rest on a cloud below him, while the zodiac appears on a band behind them with the four seasons to the left. The Horae can be recognized by their butterfly wings. The upper part of the fresco is meant to be viewed from the opposite angle and shows Mercury and, a little below him, the gods Diana, Jupiter and Saturn. The composition of the ceiling fresco takes into account the many viewpoints available to the visitor, who changes direction several times during his climb up the stairs, and who cannot take in the whole fresco at a glance. Tiepolo's achievements in composing this fresco are twofold: he takes into consideration the way in which only parts of the fresco are visible to the viewer as he climbs, and he presents independent pieces which nevertheless fuse into a harmonic whole. From the foot of the stairs the viewer first sees the continent of America, whose personification points with outstretched arm to a banner showing the mythical creature the griffin, a first allusion to the client. On entering the stairwell, a wider picture is revealed, giving a view of the dramatic cloud formations which push open the skies, and of the figure of Apollo, bathed in radiant light. Halfway up the first flight of stairs, more of the long sides of the fresco are revealed, with Africa on the right and Asia on the left. The groups of figures await the visitor almost like a court society. After this first flight, the viewer must change direction and now sees the portrayal of Europe for the first time on the short side opposite. The flourishing arts are symbolized here, partly personified by the artists involved in the construction of the Residence. Above them, the Prince-Bishop's portrait medallion is borne aloft through the heavens by geni and allegorical figures. Like Apollo, who cannot be seen from here, it too lets its light shine forth over the world. In comparison to the other Continents, the Europa fresco is statically conceived. This, and the sometimes frontal arrangement of its figures, causes the viewer to pause and so constitutes a first high point on the way to the Imperial Hall. The fresco was, therefore, never laid out with an overall view in mind, and the criticisms of the largely empty areas of sky at its centre which were later to be frequently voiced, are thus unfounded. Instead we are captivated by the harmonic perfection through which both architecture and painted decoration serve the same purpose: the magnificent staging of the ceremonial path through the Residence.Artist:TIEPOLO, Giovanni Battista Title: Apollo and the Continents Painted in 1701-1750 , Italian - - painting : mythological
Painting ID:: 63761
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Apollo_and_the_Continents
1752-53 Fresco, 1900 x 3050 cm Stairwell of the Residenz, W?rzburg The picture shows an overall view of the ceiling, photographed from below. The perspectival distortion at the edges of the overall view of the ceiling fresco tell us that this was never intended as a vantage point for the visitor. Instead, the fresco was to open out to the viewer as he ascended the staircase. Apollo is portrayed in the centre of the heavens, Venus and Mars rest on a cloud below him, while the zodiac appears on a band behind them with the four seasons to the left. The Horae can be recognized by their butterfly wings. The upper part of the fresco is meant to be viewed from the opposite angle and shows Mercury and, a little below him, the gods Diana, Jupiter and Saturn. The composition of the ceiling fresco takes into account the many viewpoints available to the visitor, who changes direction several times during his climb up the stairs, and who cannot take in the whole fresco at a glance. Tiepolo's achievements in composing this fresco are twofold: he takes into consideration the way in which only parts of the fresco are visible to the viewer as he climbs, and he presents independent pieces which nevertheless fuse into a harmonic whole. From the foot of the stairs the viewer first sees the continent of America, whose personification points with outstretched arm to a banner showing the mythical creature the griffin, a first allusion to the client. On entering the stairwell, a wider picture is revealed, giving a view of the dramatic cloud formations which push open the skies, and of the figure of Apollo, bathed in radiant light. Halfway up the first flight of stairs, more of the long sides of the fresco are revealed, with Africa on the right and Asia on the left. The groups of figures await the visitor almost like a court society. After this first flight, the viewer must change direction and now sees the portrayal of Europe for the first time on the short side opposite. The flourishing arts are symbolized here, partly personified by the artists involved in the construction of the Residence. Above them, the Prince-Bishop's portrait medallion is borne aloft through the heavens by geni and allegorical figures. Like Apollo, who cannot be seen from here, it too lets its light shine forth over the world. In comparison to the other Continents, the Europa fresco is statically conceived. This, and the sometimes frontal arrangement of its figures, causes the viewer to pause and so constitutes a first high point on the way to the Imperial Hall. The fresco was, therefore, never laid out with an overall view in mind, and the criticisms of the largely empty areas of sky at its centre which were later to be frequently voiced, are thus unfounded. Instead we are captivated by the harmonic perfection through which both architecture and painted decoration serve the same purpose: the magnificent staging of the ceremonial path through the Residence.Artist:TIEPOLO, Giovanni Battista Title: Apollo and the Continents Painted in 1701-1750 , Italian - - painting : mythological
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Education of the Virgin
1732 Oil on canvas S. Maria della Consolazione (Fava), Venice The figures in this altarpiece are portrayed more as the heroines of noble dramas than as saints. They combine true pathos with elegant sensuality, as if they were creatures of some higher human species. At the same time, however, they are firmly linked to our sense of everyday life through the descriptive details which are so naturalistic as to border on trompe-l'oeil. In the centre of the representation, in front of a magnificent architectural backdrop, stands Mary as a young girl, reading from an open book, and instructed by her mother, who sits next to her. Her father, standing to her right, is deep in prayer and has his eyes raised towards Heaven. What is striking about the composition, is the diagonal line which runs from the three angels' heads beneath the book to the three large angels above Mary, and which symbolizes the way to the Kingdom of Heaven.Artist:TIEPOLO, Giovanni Battista Title: Education of the Virgin Painted in 1701-1750 , Italian - - painting : religious
Painting ID:: 63764
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Education_of_the_Virgin
1732 Oil on canvas S. Maria della Consolazione (Fava), Venice The figures in this altarpiece are portrayed more as the heroines of noble dramas than as saints. They combine true pathos with elegant sensuality, as if they were creatures of some higher human species. At the same time, however, they are firmly linked to our sense of everyday life through the descriptive details which are so naturalistic as to border on trompe-l'oeil. In the centre of the representation, in front of a magnificent architectural backdrop, stands Mary as a young girl, reading from an open book, and instructed by her mother, who sits next to her. Her father, standing to her right, is deep in prayer and has his eyes raised towards Heaven. What is striking about the composition, is the diagonal line which runs from the three angels' heads beneath the book to the three large angels above Mary, and which symbolizes the way to the Kingdom of Heaven.Artist:TIEPOLO, Giovanni Battista Title: Education of the Virgin Painted in 1701-1750 , Italian - - painting : religious
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John the Baptist Preaching
1732-33 Fresco, 350 x 300 cm Cappella Colleoni, Bergamo The impressive figure of John the Baptist, delivering his sermon with raised forefinger from the top of a rock in the landscape, dominates the right-hand side of the picture. His cross staff and the lamb at his feet refer to the fate of Christ. The left-hand side of the picture is almost completely taken up by men, women and children, who listen spellbound to the sermon. The young woman placed in the very centre of the picture breast-feeding her child, who thus conforms to the standardized portrayal of the Madonna and Child, can be understood as an allusion to the birth of Christ, which is the subject of John's sermon.Artist:TIEPOLO, Giovanni Battista Title: John the Baptist Preaching Painted in 1701-1750 , Italian - - painting : religious
Painting ID:: 63765
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John_the_Baptist_Preaching
1732-33 Fresco, 350 x 300 cm Cappella Colleoni, Bergamo The impressive figure of John the Baptist, delivering his sermon with raised forefinger from the top of a rock in the landscape, dominates the right-hand side of the picture. His cross staff and the lamb at his feet refer to the fate of Christ. The left-hand side of the picture is almost completely taken up by men, women and children, who listen spellbound to the sermon. The young woman placed in the very centre of the picture breast-feeding her child, who thus conforms to the standardized portrayal of the Madonna and Child, can be understood as an allusion to the birth of Christ, which is the subject of John's sermon.Artist:TIEPOLO, Giovanni Battista Title: John the Baptist Preaching Painted in 1701-1750 , Italian - - painting : religious
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The Scourge of the Serpents
The Scourge of the Serpents (detail) 1732-35 Oil on canvas, 164 x 1356 cm (complete frieze) Gallerie dell'Accademia, Venice During the 1720s Giambattista Tiepolo developed a new colouristic style of painting derived in principle from the dazzling palette of Veronese and the no less brilliant one of Sebastiano Ricci. Rejecting the tenebrous colour of Piazzetta, we witness in Tiepolo the triumph of colour with a richness of resonance and counterpoint elaborated within the ordered and monumental composition. The great frieze, originally below the choir of the Venetian church of SS. Cosma and Damiani on the Giudecca (Zanetti 1771), is a fine example of Tiepolo's work of the 1730s. The painting in its ornate stucco frame decorated with fruit, flowers and leaves is over 13 metres long. Three episodes are depicted with a decorative illusionism contrasting with the declared realist-narrative intent, rendering the painting somewhat melodramatic effect.Artist:TIEPOLO, Giovanni Battista Title: The Scourge of the Serpents (detail) Painted in 1701-1750 , Italian - - painting : religious
Painting ID:: 63766
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The_Scourge_of_the_Serpents
The Scourge of the Serpents (detail) 1732-35 Oil on canvas, 164 x 1356 cm (complete frieze) Gallerie dell'Accademia, Venice During the 1720s Giambattista Tiepolo developed a new colouristic style of painting derived in principle from the dazzling palette of Veronese and the no less brilliant one of Sebastiano Ricci. Rejecting the tenebrous colour of Piazzetta, we witness in Tiepolo the triumph of colour with a richness of resonance and counterpoint elaborated within the ordered and monumental composition. The great frieze, originally below the choir of the Venetian church of SS. Cosma and Damiani on the Giudecca (Zanetti 1771), is a fine example of Tiepolo's work of the 1730s. The painting in its ornate stucco frame decorated with fruit, flowers and leaves is over 13 metres long. Three episodes are depicted with a decorative illusionism contrasting with the declared realist-narrative intent, rendering the painting somewhat melodramatic effect.Artist:TIEPOLO, Giovanni Battista Title: The Scourge of the Serpents (detail) Painted in 1701-1750 , Italian - - painting : religious
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Giovanni_Battista_Tiepolo
Italian Rococo Era Painter, 1696-1770
Giovanni Battista Tiepolo was born in Venice on March 5, 1696. His father, who was part owner of a ship, died when Tiepolo was scarcely a year old, but the family was left in comfortable circumstances. As a youth, he was apprenticed to Gregorio Lazzarini, a mediocre but fashionable painter known for his elaborately theatrical, rather grandiose compositions.
Tiepolo soon evolved a more spirited style of his own. By the time he was 20, he had exhibited his work independently, and won plaudits, at an exhibition held at the church of S. Rocco. The next year he became a member of the Fraglia, or painters guild. In 1719 he married Cecilia Guardi, whose brother Francesco was to become famous as a painter of the Venetian scene. They had nine children, among them Giovanni Domenico and Lorenzo Baldassare, who were also painters.
In the 1720s Tiepolo carried out many large-scale commissions on the northern Italian mainland. Of these the most important is the cycle of Old Testament scenes done for the patriarch of Aquileia, Daniele Dolfin, in the new Archbishop Palace at Udine. Here Tiepolo abandoned the dark hues that had characterized his early style and turned instead to the bright, sparkling colors that were to make him famous.
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