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Battista Tiepolo
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Biography and information

Italian painter, born in Castello di Sanpietro, near Venice in 1696, studied at Greg. Lazarini, but finally formed under the influence of George.-B. Piazzetta and, in particular, through the study of the works of P. Veronese, which is then imitated in numerous wall and ceiling frescoes. In the beginning, to the year 1750, worked hard on the decoration painting churches. On his return to Venice, 1755−1758 years was Director of the local Academy of arts, in 1761, went to the Spanish Royal court in Madrid, and showed his prolific artistic career and died in 1770.

Giovanni Battista (1696−1770, Italian painter, draftsman, printmaker. Studied in Venice with G., Lazzarini, was influenced by Paolo Veronese and George.B.Piazzetta; he worked mainly in Venice and its surroundings (1756−1758 President of the Venetian Academy of fine arts), as well as in Milan, Wurzburg, and Madrid. For an early work by Tiepolo restless characteristic shape and contrast of the chiaroscuro, but they are already having an impact inherent in the artist’s rich imagination and decorative scale (a cycle of paintings for the Dolfin Palace in Venice, after 1725, now in the State Hermitage, Saint Petersburg and other meetings). In the future, the style of Tiepolo acquires freedom and expression, his colour lighter, enriched subtle nuances (shades of churches Dzhezuati, 1737−1739, and the Scalzi 1743−1744, in Venice). By the middle of the eighteenth century Tiepolo, which by this time the acknowledged head of the Venetian school of painting, enjoyed wide popularity, a lot of work for foreign courts. He created in this period, fresco cycles differ in festive splendor, shining colour, built on the combination of delicate silver, red, Golden yellow, pearl gray and blue tones (painting of the Bishop’s residence in würzburg, 1750−1753; Palazzo labia in Venice, circa 1750, the Villa Valmarana near Vicenza, 1757; the ceiling of the Royal Palace in Madrid, 1762−1766). Vivid emotionality of images and virtuosity of the painting technique are striking easel works by Tiepolo ("the Triumph of Amphitrite", circa 1740, a Picture gallery, Dresden; "the adoration of the Magi", 1753, Alte Pinakothek, Munich). The frescoes of Tiepolo, the final development of the Italian monumental and decorative painting of the XVI—XVIII centuries, and his paintings, with their unexpected angles and spatial dynamics of scenic ease and freedom, the subtlety of light and effects, transparency, soft colors belong to the peaks of world art. Tiepolo also known as a portraitist ("Meeting scene", 1748−1750, pinacotheca, Udine) and the author is brilliant in technique, exquisite and grotesque etchings.

In the process of finding your ways, the interest of Giovanni Battista Tiepolo painting called Giovanni Battista Piazzetta. Under his influence, executed paintings in the Venetian Church of Ospedaletto to the plot of "the Sacrifice of Isaac" (1715−1716) and the altarpiece "the plague of St. Bartholomew" (the Church of San STAE, Venice). A large "mural" spot colors reminiscent of a picturesque manner of Piazzetta. The desire to overcome a Baroque pathos, Lazzarini and to find their own style forces the artist to focus on painting the Venetian artist Sebastiano Ricci. A significant work of Giovanni Battista Tiepolo in the years 1726−1730 began painting the Archbishop’s Palace in Udine, ordered the Patriarch of Aquileia, Dionisio Dolfin, the activity of which was associated with this city. The novelty of the approach to the techniques of the picturesque scenery and attempt to use in this regard, elements of the "powernetwork" style Ricci was manifested in the three ceiling frescoes of the gallery, the ceiling of the red hall, interior stairs, frescoes of the walls of the gallery. They are filled with bright colors. Scenic loop of the Archbishop’s Palace on a background of white with gold stucco looks festive. Written in sharp perspective perspective architectural scenery in the paintings of the ceiling, as in the works by S. Ricci, create the effect of involving the audience in the space. The language of painting, Ricci and Piazzetta, the artist transforms into your individual style, while maintaining and further independence in relation to the valuable elements of tradition.

In the middle of the 1720-ies Giovanni Battista Tiepolo was established and a series of ten panels on topics from ancient history to the Venetian Palace Dionisio Dolfin (five panels are in a Hermitage; two in the Kunsthistorisches Museum of Vienna; two in the Metropolitan Museum). In a series of paintings created by the artist, includes historical scenes of the triumphs, battles, celebrating the victories of the Romans in all parts of the world and possibly inspired by the events of Venice’s modern history — the victory over the Turks at the beginning of the century. The world of ancient and Christian myths exist in the imagination of the artist are inseparable, like some kind of legendary historical past, the scenes of which he gives a dramatic sound or the lyrical nature of fairy magic. In these heroic stories Tiepolo allegorically glorified civic virtue family of Dolfin, who played a prominent role in the history of Venice.

In the paintings of the Venetian Palazzo labia (1746) on the subject of ancient history Tiepolo creates a subordinate unified decorative design interior decoration. The walls of the hall in the midst of architectural framed in the spirit of Veronese depicts the scene "the Meeting of Antony and Cleopatra in the TIRS" and "Feast of Antony and Cleopatra".

The ceiling is frescoed with images of Zephyr and Flora in the ceiling of the oval, and above them hovers the figure of Pegasus. The story of Plutarch, the artist interprets as the victory of love, of contempt for her power, embodying it in a bright majestic scenic spectacle. Presented in a Venetian costume of the 16th century, the Central characters complete the picture of a traditional Venetian festival, resembling being on the podium for the actors, bringing into effect the atmosphere of a theatrical travesty. Tiepolo’s contemporaries admired the artist’s ability to create Grand fresco ensembles, like any Baroque painting, involving the action of spectators.

In 1730−1740 years Tiepolo has been created numerous altar images in Venetian churches (San Alvise, about 1740; dei Dzhezuati, 1748), and Scuola (philanthropic brotherhood: Grande di San Rocco, 1732; Grande dei Carmine, 1740−43). Even in the most dramatic stories of the events mitigated the playback characteristic details, lively facial expressions of the faces, the freedom of poses, colorful costumes. Along with images of legendary history painter Giovanni Battista Tiepolo creates a series of paintings, which manifest a new, in tune with the aesthetic ideals of a century, the understanding of the allegory. With a light, exquisite grace performed in the manner of Venetian virtuosos allegories in the paintings of the ceiling of the Central hall of the Villa Cordellina-Lombardi in Montecchio Maggiore, near Vicenza (1743−1744), Venetian Palazzo Rezzonico (1743), ceiling halls of the Villa Loski Zileri near Vicenza (1734), panel "Venice accepts the gift of Neptune" (1745−1750) for the hall of the Four doors of the Doge’s Palace.

Writing about the artist’s contemporaries always noted the individuality of his personality and talent. It is known that it was courteous, friendly person with a sarcastic mind. In 1756 Giovanni Battista Tiepolo became President of the Academy of fine arts in Venice and directed the largest art, exhibitions, contests, a gallery of portraits of the Doges to the Doge’s Palace. From 1750 Tiepolo worked mainly outside Italy. Fantasy characteristic of his painting the decorative scale apparent in the paintings of the Archbishop’s residence Palace in Wurzburg (1750−53). Depicted mythological and allegorical characters are United in a kind of created by the imagination of the artist, theatrical performance, striking abundance of light and brilliance. The plot was intended to glorify the Kingdom of Franconia, the wise rule of the Prince-Bishop K. F. von Greifenklau.

After a cycle in würzburg landmark work was the painting of the Villa Valmarana near Vicenza (1757). The artist worked here with his son George. Domenico, he was decorated with frescoes of the atrium, four rooms of the Villa and garden pavilion (Foresteria), where he performed only one fresco "the Olympus". Scenes from the works of Homer, tasso, Virgil, Ariosto takes place in the landscapes, as if transcending space of the rooms. The Palladian type of suburban villas contributed to the embodiment of the here artist aesthetic ideas of the age of Enlightenment of the harmony of architecture and nature. The idea of the superiority of feelings over rational thinking in the imitation of nature was Central in the program of painting of Villa Valmarana at Mira. In the selection of topics and their picturesque embodiment of Giovanni Battista Tiepolo managed programmatically to Express the ideals of the Venetian painting of the age of Enlightenment, with its innovative special understanding of the painting, the cult of feelings. Subjects responded to the perception of the world Tiepolo, allowing access to the traditional genre of pastoral, to exercise the power of imagination.

Period 1762−1767 years Tiepolo spent in Spain, where at the invitation of king Carlos III, along with his sons George. Domenico and Lorenzo (mainly a portrait painter and watercolorist), adorned with frescoes the Royal Palace in Madrid, performed seven images for the altar of the Church of St. Pascal’s in Aranjuez (sketches — Prado, Madrid; the castle of Aranjuez). The scene of the "Triumph of the Spanish monarchy" in the fresco of the ceiling of the Throne room composite repeating the painted ceiling of the ceremonial staircases of the Palace of würzburg. From illusory eaves was also placed group of historical and allegorical characters. Several heavy pieces that overwhelmed the composition, visible features, anticipating the decline of the Grand tradition of the "Grand style". Sketches of the Church were executed free stroke dynamic, but with a focus on the flavor of paintings by Spanish masters. They are not satisfied customers and was transferred to other painters. This failure accelerated the death of Tiepolo died in Madrid in 1770. He failed to learn an alien language trendy painting classicism of the second half of the 18th century. With Venetian elegance, theatricality, decorative energy he conveyed in his art, a special flavor of Venetian culture of the age of Enlightenment. Tiepolo was a painter, was engaged in engraving, creating its own unique graphic style. In the drawings, and a series of etchings he discovered the principles of painting, developed by artists of the 19th century. Graphic series "Vari capricci" (1743) and "Scherzi di fantasia" (C. 1740−1770) with their mysterious stories still forced researchers to argue about the allusions of the master, to engage in decoding the content of the leaves. In the tradition of Venetian Capriccio Giovanni Battista Tiepolo brings together the elements of the Arcadia of attitude and gradually displacing it neoklassitsisticheskoy aesthetic views, embodying his thoughts in characters, hidden under the grotesque allegorical mask — like special time dimension inherent in the vision of the artist of the age of Enlightenment.

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Giovanni Battista Tiepolo. The triumph of the Roman emperor
The triumph of the Roman emperor
Giovanni Battista Tiepolo
11×19.1 cm
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Giovanni Battista Tiepolo. Apollo and Phaeton
Apollo and Phaeton
Giovanni Battista Tiepolo
1731-1731, 64.1×47.6 cm
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Artworks by the artist
180 artworks total
Giovanni Battista Tiepolo. Bacchus and Ariadne
Bacchus and Ariadne
1745, 213.4×231.8 cm
Giovanni Battista Tiepolo. SV. Tech, which delivered the population of the city of este from the plague
SV. Tech, which delivered the population of the city of este from the plague
45×80 cm
Giovanni Battista Tiepolo. Ubaldo and Carlo, zastosowa Rinaldo and Armida
Ubaldo and Carlo, zastosowa Rinaldo and Armida
260×187 cm
Giovanni Battista Tiepolo. The martyrdom of St. Agatha
The martyrdom of St. Agatha
131×184 cm
Giovanni Battista Tiepolo. The Triumph Of Flora
The Triumph Of Flora
69×72 cm
Giovanni Battista Tiepolo. The appearance of the virgin to St. Philip Neri
The appearance of the virgin to St. Philip Neri
182×360 cm
Giovanni Battista Tiepolo. Gathering manna
Gathering manna
525×1000 cm
Giovanni Battista Tiepolo. Pope Clement I, the worshipers of the Trinity
Pope Clement I, the worshipers of the Trinity
256×488 cm
Giovanni Battista Tiepolo. The frescoes of the Palazzo Dugnani. Scipio and the slave
The frescoes of the Palazzo Dugnani. Scipio and the slave
450×520 cm
View 180 artworks by the artist