Las ˇleos de todo Giambattista Tiepolo


ID Image  Painting (From A to Z)       Details 
30608  
Giambattista Tiepolo, Abraham and the Angels
 
 Abraham and the Angels   mk68 Oil on canvas Venice,Confraternity of San Rocco c.1732 Italy
51258  
Giambattista Tiepolo, Allegory of the Planets and Continents
 
 Allegory of the Planets and Continents   1752 Oil on canvas, 185,4 x 139,4 cm
51741  
Giambattista Tiepolo, Detail of the martyrdom of Saint John of Bergamo
 
 Detail of the martyrdom of Saint John of Bergamo   nn09 1743 Oil on canvas
26904  
Giambattista Tiepolo, Details from The Triumph of Marius
 
 Details from The Triumph of Marius   mk52
30293  
Giambattista Tiepolo, Details of The Death of Hyacinthus
 
 Details of The Death of Hyacinthus   nn05 A god plagued by dreadful guilt
30294  
Giambattista Tiepolo, Details of The Death of Hyacinthus
 
 Details of The Death of Hyacinthus   nn05 a sport with deadly balls
30295  
Giambattista Tiepolo, Details of The Death of Hyacinthus
 
 Details of The Death of Hyacinthus   nn05 Count Wilhelm ruins his reputation
30296  
Giambattista Tiepolo, Details of The Death of Hyacinthus
 
 Details of The Death of Hyacinthus   nn05 An enlightened despot
32562  
Giambattista Tiepolo, Giambattista
 
 Giambattista   mk79 About 1740
39447  
Giambattista Tiepolo, Hl. Thekla erlost Este of the plague
 
 Hl. Thekla erlost Este of the plague   mk148 1759 for the cathedral of Este prepared was freed in accordance with delivery thanks to the intercession of the holy the city 1638 of the plague
45425  
Giambattista Tiepolo, Muse most par Giambattista Tiepolo the last Abendmabl
 
 Muse most par Giambattista Tiepolo the last Abendmabl   mk186 around 1745-50 you Louvre
30655  
Giambattista Tiepolo, Pulcinella in Love
 
 Pulcinella in Love   mk68 Venice,Ca'Rezzonico Museum 1797
32541  
Giambattista Tiepolo, Recreation by our Gallery
 
 Recreation by our Gallery   mk79
32599  
Giambattista Tiepolo, Recreation by our Gallery
 
 Recreation by our Gallery   mk79
32607  
Giambattista Tiepolo, Recreation by our Gallery
 
 Recreation by our Gallery   mk79 About 1742-1745
32608  
Giambattista Tiepolo, Recreation by our Gallery
 
 Recreation by our Gallery   mk79 About 1745
32609  
Giambattista Tiepolo, Recreation by our Gallery
 
 Recreation by our Gallery   mk79 About 1742-1745
32610  
Giambattista Tiepolo, Recreation by our Gallery
 
 Recreation by our Gallery   mk79 About 1742-1745
32586  
Giambattista Tiepolo, Recreation by our Gallery 02
 
 Recreation by our Gallery 02   mk79 About 1746
87050  
Giambattista Tiepolo, Saint Tecla at Este
 
 Saint Tecla at Este   oil on canvas, 1759, cyf
43660  
Giambattista Tiepolo, St James the Greater Conquering the Moors
 
 St James the Greater Conquering the Moors   1749-50 Oil on canvas, 317 x 163 cm
45436  
Giambattista Tiepolo, The banquet of the Kleopatra
 
 The banquet of the Kleopatra   mk186 1743/44 Melbourne nationally Gallery of Victoria
45643  
Giambattista Tiepolo, The banquet of the Klleopatra
 
 The banquet of the Klleopatra   mk186 1747-50 Wenedig
30292  
Giambattista Tiepolo, The Death of Hyacinthus
 
 The Death of Hyacinthus   nn05 1752-1753 Tennis with Apollo
26903  
Giambattista Tiepolo, The Triumph of Marius
 
 The Triumph of Marius   mk52 1729 Oil on canvas 5.6x3.3cm Metropolitan Museum of Art,New York

Giambattista Tiepolo
1696-1770 Italian painter, master of Venetian school. Tiepolo was famous in his own lifetime as a superb painter in fresco and a brilliant draftsman. A highly inventive artist, he could create spectacular effects in difficult sites, from the narrow gallery at the patriarchal palace at Udine in the mid-1720s to the vast staircase ceiling in the Residenz at Werzburg in the early 1750s. Contemporaries recognized his spirited, dynamic approach to subject matter and his frankly sensuous manner of painting. Tiepolo is comparable in his restless energy and imaginative power to Peter Paul Rubens, and essentially he worked with a similar baroque language of myth, allegory, and history, which he infused with a sense of freshness and modernity. His approach to religious art is characterized by candor and naturalism, while he was responsive to the different concerns of patrons and viewers at a time when the church was faced with new kinds of devotion and criticism. With the advent of neoclassicism, Tiepolo's art fell from favor: In an age that prized archaeological correctness, rationality, and ideals of improvement, his witty, Veronese-inspired conception of historical or classical subjects seemed frivolous, while his visually seductive qualities were seen as inimical to the serious intellectual aims of the new art. Nevertheless, his drawings and oil sketches continued to appeal to collectors, including Antonio Canova. The son of a Venetian shipping merchant, Tiepolo was apprenticed in 1710 to Gregorio Lazzarini (1655C1730), an artist of international reputation patronized by prominent Venetian families. Before becoming an independent master, he worked in the household of Doge Giovanni Corner; members of the Corner family were to be his most steadfast and liberal patrons. Lazzarini encouraged his pupils to study Venetian sixteenth-century art, and Tiepolo made drawings of some famous works for publication in Domenico Lovisa's Gran Teatro di Venezia of 1717. His early involvement with the thriving Venetian engraving and publishing world was renewed in 1724 when he made drawings of antique sculpture as illustrations for Scipione Maffei's Verona Illustrata, an experience that gave Tiepolo an imaginative empathy with fragmentary antique remains, which recur in his drawings, etchings, and paintings. As well as studying the art of the past, Tiepolo looked to the tenebrism of Federico Bencovich (1677C1753) and the realism and monumentality of Giovanni Battista Piazzetta (1682C1754). In 1719 Tiepolo married Cecilia Guardi, with whom he was to have nine children. By then, the artist was working for a network of mercantile and noble patrons on religious and secular subjects.



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