Italian painter, draftsman, printmaker. Studied with his father George. B. Tiepolo. He worked in his father's workshop in Venice, 1760 he headed a workshop in 1762 went to Spain, after the death of the Elder Tiepolo in Madrid returned to Venice. Wrote easel paintings at the everyday, mythological and historical subjects. In 1750-1790-e performed independent work in monumental painting. From 1772 Professor at the Venetian Academy of arts, from 1780 the President.
It was mentioned a long time along with George. B. Tiepolo as the interpreter of the manners of his father. In 1960-1970, after a series of scientific publications of Italian researchers and exhibition of works of father and son in Udine (1971), painting work of Jawaharlal Nehru. D. Tiepolo became very clear. Until the 1750s worked independently, mainly in easel painting. In 1747, performed a cycle of 14 paintings, stations of the cross for the oratorio del Crocefisso Church of San Polo in Venice. The combination of legendary events and characters drawn from contemporary life, was not appreciated by his contemporaries. Genre key interpreted by composition of small paintings rest on the flight into Egypt (Budapest, Museum of fine arts) and Madonna with the sleeping Child (Moscow, GOS. Museum of fine arts. A. S. Pushkin), created in parallel with the graphic series the Flight into Egypt (1750-1753). In color palette works, the borrowing of individual parts of the composition was influenced by Tiepolo the Elder. But in the acute specificity around the main protagonists characters, the subtle poetizatsii and at the same time the interpretation of what is happening in the spirit the everyday scenes visible features of an individual manner of the young artist. Prevailing, as in the palette Tiepolo the Elder, patches of red, brown, yellow, green and white form, however, less bright color. Large color area and a calm DAB to create the impression more rational than the father, the approach to the solution of small decorative paintings. In the picture, the Council of the order of Malta (1749-1750-e, Udine, Mountains. Museum) Tiepolo turns to the plot, not typical of father's workshop. A scene from contemporary history that tells of the meeting of the Grand Council of the order of Malta at the Palace Malta in 1749 and publication of a decree recognizing the power of the nobles of Udine, for the first time becomes a value. Interest in modernity is characteristic of the works of the 1750s. Tiepolo ironically narrates the scenes of the carnival (Quack, sir. 1750, Louvre; Minuet performed by Columbine, and Pantaloon, 1756, Barcelona, Museum of Art) or about the unusual, the convener of the crowd of onlookers events (Rhino, 1750 e, Venice, Catholic Bank; the Narrator, approx. 1757, new York, private collection). Without the playfulness of the Rococo, with tact outside observer, the artist uses the scene of the departure of the aristocratic Venetian society at the villas on the Brenta for (Departure gondola, 1755, Madrid, private collection). Easel works on a contemporary theme allowed Tiepolo to adopt his style, which he then transfers into a monumental painting.
Helping in decorative painting father, Giovanni Domenico only in the middle. The 1750s began to perform individual orders. In 1756, the artist was elected to the Venetian Academy of arts. In the frescoes of the Villa Valmarana near Vicenza (1757), he was entrusted with the frescoes located in the Park foresterie facilities for guests as a gallery with seven rooms on one side. In the hall of paintings of Rural scenes (the Rest of the peasants, Landscape with two peasants, a peasants Meal, a Chinese seller of fabrics) and the room of Carnival scenes (the Charlatan, the New world, Pantalone and Colombina) scenes of contemporary Venetian life are depicted with humor, with emphasis on the characteristic. More decorative frescoes of the Gothic hall (an Explanation of love, Winter walk), although they also clearly describes the nature of the terrain and the nuances of lighting, and they have no abstract idyllic pastoral mood. Like C. Gozzi, author of the Princess Turandot, Giovanni Domenico in the taste epoch introduces scenes from Chinese life in the Chinese room. He often depicts figures in landscape, it brings colour to the character of changeable natural lighting. Introduced By John. Mengozzi-Column illusory architectural details (two staircases in the room of Carnival scenes, elements fashionable in the XVIII century the Gothic decorations in the Gothic hall), near which are placed the figures of people who can watch what is happening, give rise to a new sense of connection natural and artificial spaces, as if merging these two worlds together. In the hall of the Aeneid next to the works of the father in the fresco of Venus in the forge of Vulcan asks for arms for Aeneas symmetry of the composition and beliefnet in the arrangement of figures indicate that the principles of Baroque illusionist scenery Tiepolo Senior stifle imagination and formed new techniques of the artist.
In the paintings of the Villa in Zianigo about Mitra (1791-1797), the artist completely departs from the establishment a majestic mythological images, feeling the discrepancy between their aesthetic and artistic aspirations of the time. The cycle was the most significant work (the murals of the individual rooms were transferred onto canvas and exhibited in museums, the Correr, CA ' Rezzonico, and currently in a special room near the house in Zianigo). Performance painting of the ceiling of the first floor is a Triumph of art, with many allegorical figures and frescoes Rinaldo in front of the statue of Armida, resurrection elegiac Arcadian world of the gardens of Armida, Tiepolo Older close manner. The fake theatricality of these works contrasts sharply with the frescoes of the hall of Pulcinella and the hall of the Centaurs. The artist introduces here a principle of scenery, in which scenes of everyday life in the mural paintings look like fragments of contemporary reality, frame by frame revealed to the viewer. The impression of the temporal development of the action enhances the vertical format of the frescoes in the hall of Pulcinella (Booth acrobats, the Rest of Pulcinella in Love with Pulcinella) and prisouzena the elongation of the murals in the hall of the New world (New world, Walk three, the Minuet at the Villa). And painting the ceiling in the hall of Pulcinella (Swing Pulcinella) is a decorative insert, although a gallant scene in the spirit of the XVIII century, depicted in bright colours on a background of celestial space. The image of Pulcinella, often found in painting and graphics of the artist (Entertainment for children — Divertimenti per i ragazzi — album of drawings on the theme of Pulcinella and performed simultaneously with the work cycle of the Villa; England, private collection), is far from just the theatrical stereotype of the Commedia Dell'arte. For Tiepolo is a collective, full of irony and grotesque folk image that carries social meaning. The element of constant transformation of the characters, like in the fairy tales-fiebach Gozzi inherent in the frescoes hall of the Centaurs and Satyrs of the hall house in Zianigo, where, along with fantastical creatures are acrobats, gymnasts, actors involved in the atmosphere of the theatre travestie gleaned from contemporary Venetian reality. The fabulous world of fantasy Elder Tiepolo Giovanni Domenico converts into a new world, a theatrical, full of ironic evaluation and a delicate sense of personal attainment.
The individual style of the artist in the chart are difficult to identify due to the fact that, being himself an excellent draughtsman, he often used for his pictorial compositions, the drawings of the father. More noticeable his hand in the execution of the etchings. Narrative, subtle rendition of the nuances of mood and a new understanding of the constantly changing temporal development of the action inherent in the series of etchings the way of the cross (1749) the Flight into Egypt (1750-1753). Compositional and lighting of the engravings is constructed so that the movement as it moves from one sheet to another, and the thin line of the circuit only draws a quick change of camera angles.
Heir to the artistic traditions of the Senior Tiepolo, Giovanni Domenico has made a new beginning in the development of monumental painting. Ironically juxtaposing natural and fashionable, true and false, he with a sneer artist of the age of Enlightenment observed and analyzed life.