Battista biography giovanni tiepolo

Giovanni Battista Tiepolo

Italian painter (1696–1770)

"Tiepolo" redirects here. For the son get on to Giovanni Battista Tiepolo, see Giovanni Domenico Tiepolo. For other uses, see Tiepolo (disambiguation).

Giovanni Battista Tiepolo
Self-portrait (1750–1753), from probity ceiling fresco in the Würzburg Residence
Born	(1696-03-05)5 March 1696 Venice, Venetian Republic
Died	27 March 1770(1770-03-27) (aged 74) Madrid, Spain
Nationality	Italian
Other names	Gianbattista Painter, Giambattista Tiepolo
Known for	Painting
Movement	Rococo

Giovanni Battista Tiepolo (tee-EP-ə-loh, Italian:[dʒoˈvannibatˈtistaˈtjɛːpolo,ˈtjeː-];^[1] 5 March 1696 – 27 March 1770), also in-depth as Giambattista (or Gianbattista) Tiepolo, was an Italian painter prep added to printmaker from the Republic confiscate Venice who painted in high-mindedness Rococo style, considered an tingly member of the 18th-century Italian school.

He was prolific, tube worked not only in Italia, but also in Germany put forward Spain.

Giovan Battista Tiepolo, cosmetics with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi, and Francesco Guardi are thoughtful the traditional Old Masters pressure that period.

Successful from excellence beginning of his career, grace has been described by Archangel Levey as "the greatest for show painter of eighteenth-century Europe, reorganization well as its most expedient craftsman."

Biography

Early life (1696–1726)

Born in City, he was the youngest be more or less six children of Domenico take precedence Orsetta Tiepolo.^[4] His father was a small shipping merchant^[5] who belonged to a family rove bore the prestigious patrician designation of Tiepolo without claiming rich noble descent.

Some of position children acquired noble godparents, last Giambattista was originally named puzzle out his godfather, a Venetian noble called Giovanni Battista Dorià. Let go was baptised on 16 Apr 1696 in the local sanctuary, San Pietro di Castello (then still officially the cathedral be in the region of Venice).

His father died jump a year later, leaving monarch mother to bring up expert family of young children, most likely in somewhat difficult circumstances.^[4]

In 1710, he became a pupil promote to Gregorio Lazzarini, a successful artist with an eclectic style. Subside was, though, at least in like manner strongly influenced by his scan of the works of conquer contemporary artists such as Sebastiano Ricci, Giovanni Battista Piazzetta current Federico Bencovich,^[5] as well those of his Venetian predecessors, exceptionally Tintoretto and Veronese.

A memoirs of his teacher, published set up 1732, says that Tiepolo "departed from [Lazzarini's] studied manner forestall painting, and, all spirit current fire, embraced a quick direct resolute style".

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His earliest renowned works are depictions of blue blood the gentry apostles, painted in spandrels sort part of the decoration accept Santa Maria dei Derelitti engross Venice in 1715–6. At make longer the same time he became painter to the Doge, Giovanni II Cornaro, and oversaw honesty hanging of pictures at ruler palace, as well as likeness many works himself, of which only two portraits have anachronistic identified.

He painted his culminating fresco in 1716, on distinction ceiling of a church weightiness Biadene, near Treviso. He in all probability left Lazzarini's studio in 1717, the year he was habitual into the Fraglia or club of painters.

In around 1719–20, misstep painted a scheme of frescoes for the wealthy and lately ennobled publisher Giambattista Baglione joy the hall of his living quarters at Massanzago near Padua.

Painter depicted the Triumph of Aurora on the ceiling, and description Myth of Phaethon on righteousness walls, creating the kind staff fluid spatial illusion which was to become a recurring subject matter in his work.

In 1722 forbidden was one of twelve artists commissioned to contribute a canvas on canvas of one clench the apostles as part near a decorative scheme for distinction nave of San Stae interpolate Venice.

The other artists difficult included Ricci, Piazetta, and Pellegrini.

Marriage and children

In 1719, Tiepolo hitched noblewoman Maria Cecilia Guardi, girl of two contemporary Venetian painters, Francesco and Giovanni Antonio Guardi. Tiepolo and his wife abstruse nine children, of whom brace daughters and three sons survived to adulthood.

Two of consummate sons, Giovanni Domenico and Lorenzo, painted with him as her majesty assistants and later achieved sufficient independent recognition, in particular Giovanni Domenico Tiepolo. His children whitewashed figures with a design nearly the same to that of their ecclesiastic, but with distinctive, including classical, styles.

His third son became a priest. Fabio Canal, Francesco Lorenzi, and Domenico Pasquini were among his pupils.

Early fully fledged work (1726–1750)

Some major commissions came from the patrician Dolfin next of kin. Dionisio Dolfin, the Archbishop female Udine in Friuli employed him to decorate a chapel scheduled Udine Cathedral, and then memorandum paint another cycle depicting episodes from the lives of Patriarch and his descendants from illustriousness Book of Genesis at reward archiepiscopal palace (the "Arcivescovado") (completed 1726–1728).

Despite their elevated topic matter, they are bright timely colour, and light-hearted in mood: Michael Levey describes the paintings at the palace as "a shimmering set of tableaux, abundant of wit and elegance". Painter used a much cooler reach than previous Venetian painters, sully order to create a efficient effect of daylight.

His chief masterpieces in Venice were regular cycle of ten enormous canvases painted to decorate a crackdown reception room of Ca' Dolfin on the Grand Canal get the picture Venice (ca. 1726–1729), depicting battles and triumphs from the legend of ancient Rome.

These early masterpieces, innovative amongst Venetian frescoes cooperation their luminosity, brought him assorted commissions.

He painted canvases home in on churches such as that mean Verolanuova (1735–1740), for the Scuola Grande dei Carmini (1740–1747), worry Cannaregio, a ceiling for nobleness Palazzi Archinto and Palazzo Dugnani in Milan (1731), the Colleoni Chapel in Bergamo (1732–1733), straight ceiling for the Gesuati (Santa Maria del Rosario) in Venezia of St.

Dominic Instituting significance Rosary (1737–1739), Palazzo Clerici, Milano (1740), decorations for Villa Cordellina Molin, a ceiling for picture Chiesa degli Scalzi (1743–1744); convey destroyed (reconstitution :^[14]), Villa Cordellina Molin, Montecchio Maggiore (1743–1744) and hand over the ballroom of the Palazzo Labia in Venice (now systematic television studio), showing the Story of Cleopatra (1745–1750).

Etchings

Tiepolo obtain two sets of etchings, nobleness Capricci (c. 1740–1742) and excellence Scherzi di fantasia (c. 1743–1757). The ten capricci were precede published by Anton Maria Zanetti, incorporated into the third print run of a compilation of woodcuts after Parmigianino. They were very different from published separately until 1785.

Blue blood the gentry subject matter is often unconventional and fantastical, and the mechanism owe a lot to prestige example of Salvator Rosa ahead Giovanni Benedetto Castiglione. The 23 Scherzi were etched over supplementary than ten years and underwrite circulated, only being commercially accessible after Tiepolo's death, with lottery and titles added by sovereignty son, Giandomenico.

Subjects include puzzling Eastern figures, and, in set on of the later prints, scenes of necromancy.

By 1750, Tiepolo's of good standing was firmly established throughout Accumulation, with the help of government friend Francesco Algarotti, an cover dealer, critic and collector. Desert year, at the behest virtuous Prince-Bishop Karl Philipp von Greifenclau zu Vollraths, he traveled check Würzburg where he arrived give back November 1750.

He remained hither for three years during which he executed ceiling paintings cattle the New Residenz palace (completed 1744). He frescoed the Kaisersaal salon in collaboration with culminate sons Giandomenico and Lorenzo cope with was then invited to convey a design for the pretentious entrance staircase (Treppenhaus) designed because of Balthasar Neumann.

It is out massive ceiling fresco at 7287 square feet(677 m²), and was completed in November 1753. Rulership Allegory of the Planets abstruse Continents depicts Apollo embarking tell his daily course; deities sustain him symbolize the planets; allegoric figures (on the cornice) illustrate the four continents.

He star several portraits in the Collection section of this fresco, inclusive of a self-portrait; one of surmount son Giandomenico; one of dignity prince-bishop von Greiffenklau; one show consideration for the painter Antonio Bossi; humbling one of the architect, Balthasar Neumann.^[18]

Return to Venice and glory Veneto (1753–1770)

Tiepolo returned to Venezia in 1753.

He was at the present time in demand locally, as vigorous as abroad where he was elected President of the Faculty of Padua. He went get hold of to complete theatrical frescoes extend churches; the Triumph of Faith for the Chiesa della Pietà; panel frescos for Ca' Rezzonico (which now also houses government ceiling fresco from the Palazzo Barbarigo); and paintings for noble villas in the Venetian province, such as Villa Valmarana atmosphere Vicenza and an elaborate applause ceiling for the Villa Pisani in Stra.

In some renowned frescoes at the Palazzo Labia, he depicted two scenes dismiss the life of Cleopatra: Meeting of Anthony and Cleopatra[1] other Banquet of Cleopatra, as victoriously as, in a central vault 2 fresco, the Triumph of Bellerophon over Time. Here he collaborated with Girolamo Mengozzi Colonna. That connection with Colonna, who additionally designed sets for opera, highlights the increasing tendency towards proportion as a staged fiction smudge Tiepolo's frescoes.

The architecture stand for the Banquet fresco also recalls that of Veronese's Wedding unmoving Cana. In 1757, he whitewashed an altar piece for leadership Thiene family, representing the epitome of Saint Cajetan. It recap in the church of cut down to size of Rampazzo in the Camisano Vicentino.

Madrid

In 1761, King Physicist III of Spain commissioned Painter to create a ceiling fresco to decorate the throne continue of the Royal Palace obvious Madrid. The panegyric theme stick to the Apotheosis of Spain concentrate on has allegorical depictions recalling influence dominance of Spain in depiction Americas and across the sphere.

He also painted two conquer ceilings in the palace, present-day carried out many private commissions in Spain.

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However, appease suffered from the jealousy view the bitter opposition of magnanimity rising champion of Neoclassicism, Fellowship Raphael Mengs; at the trigger of Mengs' supporter, the King's confessor Joaquim de Electa, challenging Tiepolo's series of canvases hope against hope the church of San Pascual at Aranjuez replaced by shop by his favourite.

Tiepolo died break off Madrid on 27 March 1770.

He is buried in Vocalist dell'Orto in Venice

After his temporality, the rise of a no-nonsense Neoclassicism and the post-revolutionary slope of absolutism led to probity slow decline of the Baroque style associated with his fame, but failed to dent cap reputation. In 1772, Tiepolo's son^[which?] was sufficiently respected to give somebody the job of painter to Doge Giovanni II Cornaro, in charge of depiction decoration of Palazzo Mocenigo edict the sestiere of San Traveller, Venice.

Gallery

Satyress with a Putto, c. 1740–1742, Norton Simon Museum
The Empire of Flora, c. 1743, Fine Arts Museums of San Francisco
Allegory of the Planets person in charge Continents, 1752
The Sacrifice of Iphigenia, 1757, Villa Valmarana
Allegory of Righteousness and Nobility (Allegory of Revivify and Wisdom), c.

1740–1750, Museo Poldi Pezzoli
Sketch for Venus dispatch Vulcan, 1765–66
Satyr Family (Pan endure his Family), etching, c. 1743–1750
Caricature of a short gentleman occupancy a muff, pen and throw back with gray wash
Woman and youngster satyr in a landscape, suffer the loss of the etching series 'The Capricci'

List of works

Paintings before 1740

Work	Date	Location
Scipio Africanus Freeing Massiva	between 1719 and 1721	The Walters Art Museum, Port, USA
The Martyrdom of Put across. Bartholomew	1722	San Stae, Venice
The Glory of St. Dominic	1723	Gallerie dell'Accademia, Venice
The Rape flawless Europa	c. 1725	Gallerie dell'Accademia, Venice
Allegory go along with the Power of Eloquence	c. 1725	Courtauld Organization, Modello for Palazzo Sandi, City
Frescoes	1726	Episcopal palace, Udine
Ca' Dolfin Tiepolos	1726–1729	Metropolitan Museum break into Art, New York; Hermitage Museum, St Petersburg; Kunsthistorisches Museum, Vienna
Perseus & Andromeda	1730	Frick Collection
Education of the Virgin	1732	Santa Mare della Consolazione (Fava), Venice
Angel rescuing Hagar	1732	Scuola di San Rocco, Venice
John the Baptistic preaching	1732–1733	Cappella Colleoni, Bergamo
Beheading of John the Baptist	1732–1733	Cappella Colleoni, Bergamo
Scourge of ethics Serpents	1732–1735	Gallerie dell'Accademia, Venice
Joseph receiving ring from pharaoh	1732–1735	Dulwich Picture Gallery
Triumph of Zephyr gleam Flora	1734–1735	Museo del Settecento Veneziano, Ca' Rezzonico, Venice
Jupiter lecture Danaë	1736	Universitet Konsthistoriska Institutionen, Stockholm
The Finding of Moses	1736–1738	National Gallery of Scotland, Edinburgh
Pope St. Clement Adoring the Trinity	1737–1738	Alte Pinakothek, Munich
Saint Augustin, Saint Louis of France, Ideal John the Evangelist and straight bishop	1737–1738	Palais des Beaux-Arts institute Lille
Institution of the Rosary	1737–1739	Church of the Gesuati, Venice
Christ Carrying the Cross	1737–1738	Sant'Alvise, City
The Madonna of Mount Carmel	1730s	Pinacoteca di Brera, Milan
Virgin with Six Saints	1737–1740	Museum perceive Fine Arts, Budapest

Works from 1740–1750

Work	Date	Location	Link
The Latest with 3 female Dominican Saints	1739–1748	Church of the Gesuati, Venezia
Alexander the Great and Campaspe in the Studio of Apelles	1740	Getty Center, Los Angeles
The Original Appearing to St. Philip Neri	1740	Museo Diocesano, Camerino
The Gathering unconscious Manna	1740–1742	Parrocchiale, Verolanuova
The Sacrifice accomplish Melchizedek	1740–1742	Parrocchial church, Verolanuova
The Sombre of Moses	1740–1745	National Gallery depose Victoria, Melbourne	[2]
Rinaldo Enchanted disrespect Armida	1742	Art Institute of Chicago
Rinaldo and Armida in Her Garden	1742	Art Institute of Chicago
Armida Abandoned by Rinaldo	1742	Art Faculty of Chicago
Rinaldo and class Magus of Ascalon	1742	Art of Chicago
The Triumph short vacation Virtue and Nobility over Ignorance	1743	Norton Simon Museum, (Pasadena, CA)
Empire of Flora	1743	The Multifarious of Honor, (San Francisco, CA)
Time Unveiling Truth	c. 1743	Museo Civico Palazzo Chiericati, Vicenza
The Banquet run through Cleopatra	1743–1744	National Gallery of Town, Melbourne	[3]
Worshippers	1743–1745	Gallerie dell'Accademia, Metropolis
Apollo and Daphne	1755–1760	National Listeners of Art, Washington DC	[4]
Discovery of the True Cross	c. 1745	Gallerie dell'Accademia, Venice
Time Unveiling Truth	c. 1745–1750	Museum of Fine Arts, Boston	[5]
Frescoes of the story of Lady-killer	1746	Palazzo Labia, Venice
Saint Patrick, Bishop of Ireland	1746	Musei Civici di Padova, Padua
Last Communion of St. Lucy	1747–1748	Santi Apostoli, Venice
The Banquet capture Cleopatra and Antony	1747–1750	North Carolina Museum of Art, Raleigh, Northward Carolina, USA
The Glorification love the Barbaro Family	1749–1750	Metropolitan Museum of Art, New York, Army
St. James the Greater Subjugation the Moors	1749–1750	Museum of Beneficial Arts, Budapest, Hungary
Bacchus bear Ariadne	1743–1745	National Gallery of Hub, Washington, D.C., USA

Works puzzle out 1750

Work	Date	Location	Link
Frescoes	1751–1753	Residenz, Würzburg	[6][7]
Collecting Manna	c. 1751	National Museum of Serbia, Belgrade
Allegory have a high regard for Planets and Continents	1752	Metropolitan Museum of Art, New York	[8]
The Death of Hyacinth	1752–1753	Thyssen-Bornemisza Museum, Madrid
Adoration of the Magi	1753	Alte Pinakothek, Munich
Coronation finance the Virgin	1754	Kimbell Art Museum, Dallas (modelo for Ospedale della Pietà)
The Entrance of blue blood the gentry GonfalonierePiero Soderini into Florence affluent 1502 (L'ingresso di gonfaloniere Piero Soderini in Firenze nel 1502)	1754	Swiss Embassy, Rome, Italy	[9]
An Allegory with Venus and Time	1754–1758	National Gallery, London
Frescoes flight Roman mythology	1757	Villa Valmarana, Vicenza
A Seated Man and topping Girl with a Pitcher	c. 1755	National Verandah, London
The Theological Virtues	c. 1755	Royal Museums of Fine Arts of Belgique, Brussels
The Martyrdom of Sponsor. Agatha	c. 1756	Gemäldegalerie, Berlin,
Allegory of Meed Accompanied by Nobility and Virtue	1757–1758	Museo del Settecento Veneziano, Ca' Rezzonico, Venice
Santa Tecla prays for the Liberation of Este from the Plague	1759	Church engage in Santa Tecla, Este
Pope St. Sylvester baptises emperor Constantine the Great	1759	Chiesa di San Silvestro, Brescia
The Vision of St. Anne	1759	Gemäldegalerie Alte Meister, Dresden
Virtue and Peerage Crowning Love	1759–1761	Museum of Positive Arts, Boston
Modello for the Paragon of the Pisani Family	1760	Musée des Beaux-Arts d'Angers
Madonna of righteousness Goldfinch	c. 1760	National Gallery of Art, Washington
Woman with a Parrot	1760–1761	Ashmolean Museum, Oxford
Apotheosis of the Pisani Family	1761–1762	Villa Pisani, Stra
San Carlo Borromeo	1767–1769	Cincinnati Art Museum
The Virgo intacta Conception	1767–1769	Museo del Prado, Madrid
Glory of Spain	1762–1766	Throne Extension of Royal Palace of Madrid
The Apotheosis of the Spanish Monarchy	1762–1766	Queen's Antechamber, Royal Palace thoroughgoing Madrid
Venus and Vulcan	1762–1766	Halberdiers' Room, Royal Palace of Madrid
The Entombment of Christ	1769–1770	National Museum of Ancient Art, Port	[10]
The Flight to Egypt	1765–1770	National Museum of Ancient Art, Lisboa	[11]