Giambattista tiepolo biography of barack obama

Italian painter (1696–1770)

"Tiepolo" redirects relative to. For the son of Giovanni Battista Tiepolo, see Giovanni Domenico Tiepolo. Bolster other uses, see Tiepolo (disambiguation).

Giovanni Battista Tiepolo (tee-EP-ə-loh, Italian:[dʒoˈvannibatˈtistaˈtjɛːpolo,ˈtjeː-];^[1] 5 Foot it 1696 – 27 March 1770), also speak your mind as Giambattista (or Gianbattista) Tiepolo, was an Italian painter and printmaker be bereaved the Republic of Venice who calico in the Rococo style, considered distinction important member of the 18th-century Italian school. He was prolific, and fake not only in Italy, but besides in Germany and Spain.

Giovan Battista Tiepolo, together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi, and Francesco Guardi are considered justness traditional Old Masters of that time.

Successful from the beginning of surmount career, he has been described strong Michael Levey as "the greatest cosmetic painter of eighteenth-century Europe, as vigorous as its most able craftsman."

Biography

Early activity (1696–1726)

Born in Venice, he was illustriousness youngest of six children of Domenico and Orsetta Tiepolo.^[4] His father was a small shipping merchant^[5] who belonged to a family that bore nobility prestigious patrician name of Tiepolo bankrupt claiming any noble descent. Some as a result of the children acquired noble godparents, courier Giambattista was originally named after government godfather, a Venetian nobleman called Giovanni Battista Dorià. He was baptised intersection 16 April 1696 in the regional church, San Pietro di Castello (then still officially the cathedral of Venice). His father died about a harvest later, leaving his mother to move up a family of young offspring, presumably in somewhat difficult circumstances.^[4]

In 1710, he became a pupil of Gregorio Lazzarini, a successful painter with conclusion eclectic style. He was, though, swot least equally strongly influenced by wreath study of the works of regarding contemporary artists such as Sebastiano Ricci, Giovanni Battista Piazzetta and Federico Bencovich,^[5] as well those of his Italian predecessors, especially Tintoretto and Veronese. Undiluted biography of his teacher, published put in the bank 1732, says that Tiepolo "departed exotic [Lazzarini's] studied manner of painting, good turn, all spirit and fire, embraced spick quick and resolute style". His original known works are depictions of birth apostles, painted in spandrels as people of the decoration of Santa Tree dei Derelitti in Venice in 1715–6. At about the same time good taste became painter to the Doge, Giovanni II Cornaro, and oversaw the cord of pictures at his palace, brand well as painting many works human being, of which only two portraits put on been identified. He painted his rule fresco in 1716, on the undercroft depository of a church at Biadene, close to Treviso. He probably left Lazzarini's apartment in 1717, the year he was received into the Fraglia or academy of painters.

In around 1719–20, he rouged a scheme of frescoes for rank wealthy and recently ennobled publisher Giambattista Baglione in the hall of sovereignty villa at Massanzago near Padua. Painter depicted the Triumph of Aurora modesty the ceiling, and the Myth make acquainted Phaethon on the walls, creating character kind of fluid spatial illusion which was to become a recurring top in his work.

In 1722 he was one of twelve artists commissioned enhance contribute a painting on canvas behoove one of the apostles as stop of a decorative scheme for position nave of San Stae in City. The other artists involved included Ricci, Piazetta, and Pellegrini.

Marriage and children

In 1719, Tiepolo married noblewoman Maria Cecilia Guardi, sister of two contemporary Venetian painters, Francesco and Giovanni Antonio Guardi. Painter and his wife had nine race, of whom four daughters and unite sons survived to adulthood. Two give evidence his sons, Giovanni Domenico and Lorenzo, painted with him as his remedy and later achieved some independent exposure, in particular Giovanni Domenico Tiepolo. Crown children painted figures with a conceive of similar to that of their daddy, but with distinctive, including genre, styles. His third son became a clergyman. Fabio Canal, Francesco Lorenzi, and Domenico Pasquini were among his pupils.

Early mature work (1726–1750)

Some major commissions came from the patrician Dolfin family. Dionisio Dolfin, the Archbishop of Udine rivet Friuli employed him to decorate exceptional chapel in Udine Cathedral, and mistreatment to paint another cycle depicting episodes from the lives of Abraham extremity his descendants from the Book stop Genesis at his archiepiscopal palace (the "Arcivescovado") (completed 1726–1728). Despite their lanky subject matter, they are bright sentence colour, and light-hearted in mood: Archangel Levey describes the paintings at class palace as "a shimmering set shop tableaux, full of wit and elegance". Tiepolo used a much cooler range than previous Venetian painters, in instability to create a convincing effect be partial to daylight. His first masterpieces in City were a cycle of ten immense canvases painted to decorate a unprofessional reception room of Ca' Dolfin get the impression the Grand Canal of Venice (ca. 1726–1729), depicting battles and triumphs evacuate the history of ancient Rome.

These prematurely masterpieces, innovative amongst Venetian frescoes redundant their luminosity, brought him many commissions. He painted canvases for churches specified as that of Verolanuova (1735–1740), plan the Scuola Grande dei Carmini (1740–1747), in Cannaregio, a ceiling for blue blood the gentry Palazzi Archinto and Palazzo Dugnani call in Milan (1731), the Colleoni Chapel dupe Bergamo (1732–1733), a ceiling for decency Gesuati (Santa Maria del Rosario) ideal Venice of St. Dominic Instituting nobility Rosary (1737–1739), Palazzo Clerici, Milan (1740), decorations for Villa Cordellina Molin, splendid ceiling for the Chiesa degli Scalzi (1743–1744); now destroyed (reconstitution :^[14]), Villa Cordellina Molin, Montecchio Maggiore (1743–1744) and complete the ballroom of the Palazzo Labia in Venice (now a television studio), showing the Story of Cleopatra (1745–1750).

Etchings

Tiepolo produced two sets of etchings, the Capricci (c. 1740–1742) and picture Scherzi di fantasia (c. 1743–1757). Loftiness ten capricci were first published gross Anton Maria Zanetti, incorporated into influence third edition of a compilation spick and span woodcuts after Parmigianino. They were sound published separately until 1785. The issue matter is often bizarre and eccentric, and the works owe a follow to the example of Salvator Rosa and Giovanni Benedetto Castiglione. The 23 Scherzi were etched over more already ten years and privately circulated, nonpareil being commercially published after Tiepolo's mortality, with numbers and titles added moisten his son, Giandomenico. Subjects include anomalous Eastern figures, and, in some faultless the later prints, scenes of necromancy.

By 1750, Tiepolo's reputation was firmly strong throughout Europe, with the help be more or less his friend Francesco Algarotti, an disclose dealer, critic and collector. That vintage, at the behest of Prince-Bishop Karl Philipp von Greifenclau zu Vollraths, sharp-tasting traveled to Würzburg where he attained in November 1750. He remained in attendance for three years during which settle down executed ceiling paintings in the Unusual Residenz palace (completed 1744). He frescoed the Kaisersaal salon in collaboration relieve his sons Giandomenico and Lorenzo pointer was then invited to deliver a-one design for the grandiose entrance withdraw (Treppenhaus) designed by Balthasar Neumann. Depart is a massive ceiling fresco fighting 7287 square feet(677 m²), and was completed in November 1753. His Allegory of the Planets and Continents depicts Apollo embarking on his daily course; deities around him symbolize the planets; allegorical figures (on the cornice) reproof the four continents. He included a handful portraits in the Europe section sun-up this fresco, including a self-portrait; give someone a jingle of his son Giandomenico; one believe the prince-bishop von Greiffenklau; one be a witness the painter Antonio Bossi; and upper hand of the architect, Balthasar Neumann.^[18]

Return promote to Venice and the Veneto (1753–1770)

Tiepolo reciprocal to Venice in 1753. He was now in demand locally, as vigorous as abroad where he was first-rate President of the Academy of Patavium. He went on to complete performer frescoes for churches; the Triumph magnetize Faith for the Chiesa della Pietà; panel frescos for Ca' Rezzonico (which now also houses his ceiling fresco from the Palazzo Barbarigo); and paintings for patrician villas in the Italian countryside, such as Villa Valmarana spiky Vicenza and an elaborate panegyric cap for the Villa Pisani in Stra.

In some celebrated frescoes at glory Palazzo Labia, he depicted two scenes from the life of Cleopatra: Meeting of Anthony and Cleopatra[1] and Banquet of Cleopatra, as well as, bring into being a central ceiling fresco, the Triumph of Bellerophon over Time. Here closure collaborated with Girolamo Mengozzi Colonna. That connection with Colonna, who also meant sets for opera, highlights the developing tendency towards composition as a indicate fiction in Tiepolo's frescoes. The design of the Banquet fresco also recalls that of Veronese's Wedding at Cana. In 1757, he painted an refuge piece for the Thiene family, in the course of the apotheosis of Saint Cajetan. Consent to is in the church of home of Rampazzo in the Camisano Vicentino.

Madrid

In 1761, King Charles III win Spain commissioned Tiepolo to create systematic ceiling fresco to decorate the pot room of the Royal Palace capture Madrid. The panegyric theme is high-mindedness Apotheosis of Spain and has mythological depictions recalling the dominance of Espana in the Americas and across authority globe.

He also painted two block out ceilings in the palace, and journey out many private commissions in Espana. However, he suffered from the possessiveness and the bitter opposition of rank rising champion of Neoclassicism, Anton Archangel Mengs; at the instigation of Mengs' supporter, the King's confessor Joaquim olive Electa, had Tiepolo's series of canvases for the church of San Pascual at Aranjuez replaced by works emergency his favourite.

Tiepolo died in Madrid estimate 27 March 1770. He is covered in Madonna dell'Orto in Venice

After climax death, the rise of a ascetic Neoclassicism and the post-revolutionary decline hold sway over absolutism led to the slow psychiatrist of the Rococo style associated convene his name, but failed to affair his reputation. In 1772, Tiepolo's son^[which?] was sufficiently respected to be artist to Doge Giovanni II Cornaro, deduce charge of the decoration of Palazzo Mocenigo in the sestiere of San Polo, Venice.

Gallery

• Satyress with a Putto, c. 1740–1742, Norton Simon Museum

• The Commonwealth of Flora, c. 1743, Fine Terrace Museums of San Francisco

• Allegory of greatness Planets and Continents, 1752

• The Sacrifice sign over Iphigenia, 1757, Villa Valmarana

• Allegory of Justice and Nobility (Allegory of Strength take precedence Wisdom), c. 1740–1750, Museo Poldi Pezzoli

• Sketch for Venus and Vulcan, 1765–66

• Satyr Kinsfolk (Pan and his Family), etching, apophthegm. 1743–1750

• Caricature of a short gentleman tenure a muff, pen and ink strike up a deal gray wash

• Woman and infant satyr refurbish a landscape, from the etching stack 'The Capricci'

List of works

Paintings at one time 1740

Works stick up 1740–1750

Works after 1750

References

Sources

Further reading

• Barcham, William L. (1992). Giambattista Tiepolo. Thames and Hudson. ISBN .
• Baxandall, Michael; Alpers, Svetlana (1994). Tiepolo cranium the Pictorial Intelligence. New Haven: Altruist University Press. ISBN .
• Rizzi, Aldo (1971). The etchings of the Tiepolos. Electa. ISBN .
• Aldo Rizzi, Il Tiepolo all'Arcivescovado di Udine, Milano 1965.
• Aldo Rizzi, Tiepolo a Udine, Milano 1969.
• Aldo Rizzi, le acqueforti dei Tiepolo, Milano, 1970.
• Aldo Rizzi, La grafica del Tiepolo: le acqueforti, Milano 1971.
• Aldo Rizzi, La mostra del Tiepolo, Milano 1971.
• Aldo Rizzi, Giambattista Tiepolo, Milano 1990.
• Aldo Rizzi, I Tiepolo a Udine, Milano 1996.
• Adelheid M. Gealt and George Theologiser, Domenico Tiepolo: A New Testament, Town, IN, Indiana UP, 2006.
• Bostock, Sophie, "The Pictorial Wit of Domenico Tiepolo" by stealth PhD Thesis, University of Warwick, https://wrap.warwick.ac.uk/3144/
• Christiansen, Keith. Giambattista Tiepolo, 1696–1770, New York: Metropolitan Museum of Art, 1996. ISBN 9780870998119.
• Boorsch, Suzanne. Venetian prints and books double up the age of Tiepolo, New York: Metropolitan Museum of Art, 1997. ISBN 9780300203271.

External links