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