Giambattista tiepolo biography of albert
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Tiepolo, Giovanni Battista (–)
The Italian painter Giovanni Battista Tiepolo () is famed for the brilliance of his colors, the speed and spontaneity of his execution, and the airy freedom of his frescoes filled with figures floating on clouds.
Giovanni Battista Tiepolo was born in Venice on March 5, His father, who was part owner of a ship, died when Tiepolo was scarcely a year old, but the family was left in comfortable circumstances. As a youth, he was apprenticed to Gregorio Lazzarini, a mediocre but fashionable painter known for his elaborately theatrical, rather grandiose compositions.
Tiepolo soon evolved a more spirited style of his own. By the time he was 20, he had exhibited his work independently, and won plaudits, at an exhibition held at the church of S. Rocco. The next year he became a member of the Fraglia, or painters' guild. In he married Cecilia Guardi, whose brother Francesco was to become famous as a painter of the Venetian scene. They had nine children, among them Giovanni Domenico and Lorenzo Baldassare, who were also painters.
In the s Tiepolo carried out many large-scale commissions on the northern Italian mainland. Of these the most important is the cycle of Old Testament scenes done for the patriarch of Aquileia, Daniele Dolfin, in the new Arc
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Renaissance + Baroque
Giovanni Battista Tiepolo: Interpretation Triumph bear out Hercules,
Italian, –
Giovanni Battista Tiepolo
European, –
The Foot of Hercules,
distress on canvass, 36 1/2 x 27 1/2 bank on. (93 x 70 cm)
Currier Prove,
Giovanni Battista Tiepolo
European, –
The Eliminate of Hercules,
blackhead on fabric, 36 1/2 x 27 1/2 gratify. (93 x 70 cm)
Currier Bear out,
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The Venetian Giovanni Battista Tièpolo () was arguably the greatest painter of eighteenth-century Europe and the outstanding first master of the Grand Manner.
His art celebrates the imagination by transposing the world of ancient history and myth, the scriptures, and sacred legends into a grandiose, even theatrical language.
Colonna&#;s perspective framework for Tiepolo&#;s frescoes is crucial to understanding the eighteenth-century notion of painting as a staged fiction-something intended to involve the viewer on a purely imaginative level.
This was in line with theater practice of the day-especially opera.
His art, with its genial departures from convention and its brilliant use of costumed splendor, celebrates the notion of artistic caprice (capriccio) and fantasy (fantasia).
In his hands, the informal oil sketch was raised to a primary art form, worthy to be collected alongside his finished paintings.
For his incomparable fresco decorations-such as those in Palazzo Labia, Venice-he collaborated with a specialist in perspective, Girolamo Mengozzi Colonna (), who also occasionally designed sets for opera.
There is a close analogy between the goals of Tiepolo&#;s painting and that of the leading poet and librettist Pietro Matastasio (), who, although