Giovanni Battista Tiepolo

Giovanni Battista Tiepolo (Italian pronunciation: [dʒoˈvanni batˈtista ˈtjɛːpolo]; March 5, 1696 – March 27, 1770), also known as Gianbattista or Giambattista Tiepolo, was an Italian painter and printmaker from the Republic of Venice who painted in the "Rococo" style. He was prolific, and worked not only in Italy, but also in Germany and Spain.

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

Successful from the beginning of his career, he has been described by Michael Levey as "the greatest decorative painter of eighteenth-century Europe, as well as its most able craftsman."[1]

Giovanni Battista Tiepolo
Tiepolo, Giovanni Battista - Fresken Treppenhaus des Würzburger Residenzschlosses, Szenen zur Apotheose des Fürstbischofs, Detail Giovanni Battista Tiepolo - 1750-1753
BornMarch 5, 1696
DiedMarch 27, 1770 (aged 74)
Known forPainting


Accademia - Giambattista Tiepolo, San Domenico in gloria 1723
The Glory of St. Dominic 1723
Giovanni Battista Tiepolo - Scipio Africanus Freeing Massiva - Walters 37657
Scipio Africanus Freeing Massiva shows Massiva, the nephew of a prince of Numidia, being released after capture by Scipio Africanus[2] Walters Art Museum.

Early life (1696–1726)

Born in Venice, he was the youngest of six children of Domenico and Orsetta Tiepolo.[3] His father was a small shipping merchant[4] who belonged to a family that bore the prestigious patrician name of Tiepolo without claiming any noble descent. Some of the children acquired noble godparents, and Giambattista was originally named after his godfather, a Venetian nobleman called Giovanni Battista Dorià. He was baptised on 16 April 1696 in the local church, San Pietro di Castello (then still officially the cathedral of Venice). His father died about a year later, leaving his mother to bring up a family of young children, presumably in somewhat difficult circumstances.[3]

In 1710 he became a pupil of Gregorio Lazzarini, a successful painter with an eclectic style. He was, though, at least equally strongly influenced by his study of the works of other contemporary artists such as Sebastiano Ricci and Giovanni Battista Piazzetta and those of his Venetian predecessors, especially Tintoretto and Veronese.[5] A biography of his teacher, published in 1732, says that Tiepolo "departed from [Lazzarini's] studied manner of painting, and, all spirit and fire, embraced a quick and resolute style".[5] His earliest known works are depictions of the apostles, painted in spandrels as part of the decoration of the church of the Ospedoletto in Venice in 1715–6.[6] At about the same time he became painter to the Doge, Giovanni II Cornaro, and oversaw the hanging of pictures at his palace, as well as painting many works himself, of which only two portraits have been identified.[7] He painted his first fresco in 1716, on the ceiling of a church at Biadene, near Treviso.[8] He probably left Lazzarini's studio in 1717, the year he was received into the Fraglia or guild of painters.[5]

In around 1719–20 he painted a scheme of frescoes for the wealthy, and recently ennobled, publisher Giambattista Baglione in the hall of his villa at Massanzago near Padua. Tiepolo depicted the Triumph of Aurora on the ceiling, and the Myth of Phaethon on the walls, creating the kind of fluid spatial illusion which was to become a recurring theme in his work.[9]

In 1722 he was one of twelve artists commissioned to contribute a painting on canvas of one of the apostles as part of a decorative scheme for the nave of San Stae in Venice. The other artists involved included Ricci, Piazetta, and Pellegrini.[10]

Marriage and children

In 1719, Tiepolo married noblewoman Maria Cecilia Guardi, sister of two contemporary Venetian painters Francesco and Giovanni Antonio Guardi. Together, Tiepolo and his wife had nine children. Four daughters and three sons survived childhood. Two of his sons, Domenico and Lorenzo, painted with him as his assistants and later achieved some independent recognition, in particular Giovanni Domenico Tiepolo. His children painted figures with a design similar to that of their father, but with distinctive, including genre, styles. His third son became a priest. Fabio Canal, Francesco Lorenzi, Domenico Pasquini were among his pupils.

Early mature work (1726–1750)

Giovanni Battista Tiepolo - Rinaldo Enchanted by Armida - Google Art Project
Rinaldo Enchanted by Armida, 1742 until 1745
Giovanni Battista Tiepolo - Juno and Luna - Google Art Project
Juno and Luna, between 1735 and 1745

Some major commissions came from the patrician Dolfin family. Dioniso Dolfin, the Archbishop of Udine in Friuli employed him to decorate a chapel in the cathedral at Udine, and then to paint another cycle depicting episodes from the lives of Abraham and his descendants from the book of Genesis at his archiepiscopal palace (the "Arcivescovado")[1] (completed 1726–1728). Despite their elevated subject matter, they are bright in colour, and light-hearted in mood: Michael Levey describes the paintings at the palace as "a shimmering set of tableaux, full of wit and elegance. [11] Tiepolo used a much cooler palette than previous Venetian painters, in order to create a convincing effect of daylight.[12] His first masterpieces in Venice were a cycle of ten enormous canvases painted to decorate a large reception room of Ca' Dolfin on the Grand Canal of Venice (ca. 1726–1729), depicting battles and triumphs from the history of ancient Rome.[10]

These early masterpieces, innovative amongst Venetian frescoes for their luminosity, brought him many commissions. He painted canvases for churches such as that of Verolanuova (1735–1740), for the Scuola dei Carmini (1740–1747), and the Chiesa degli Scalzi (1743–1744; now destroyed) in Cannaregio, a ceiling for the Palazzi Archinto and Casati-Dugnani in Milan (1731), the Colleoni Chapel in Bergamo (1732–1733), a ceiling for the Gesuati (Santa Maria del Rosario) in Venice of St. Dominic Instituting the Rosary (1737–1739), Palazzo Clerici, Milan (1740), decorations for Villa Cordellini at Montecchio Maggiore (1743–1744) and for the ballroom of the Palazzo Labia in Venice (now a television studio), showing the Story of Cleopatra (1745–1750).


Tiepolo produced two sets of etchings, the Capricci (c. 1740–1742) and the Scherzi di fantasia (c. 1743–1757). The ten capricci were first published by Anton Maria Zanetti, incorporated into the third edition of a compilation of woodcuts after Parmigiano. They were not published separately until 1785. The subject matter is often bizarre and fantastical, and the works owe a lot to the example of Salvator Rosa and Giovanni Benedetto Castiglione.[13] The 23 Scherzi were etched over more than ten years and privately circulated, only being commercially published after Tiepolo's death, with numbers and titles added by his son, Giandomenico. Subjects include mysterious Eastern figures, and, in some of the later prints, scenes of necromancy.[14]

Giovanni Battista Tiepolo 034
Apotheosis of Spain (1762-1766) in Royal Palace of Madrid.

Würzburg Residenz (1750–1753)

By 1750, Tiepolo's reputation was firmly established throughout Europe, with the help of his friend Francesco Algarotti, an art dealer, critic and collector. That year, at the behest of Prince Bishop Karl Philip von Greiffenklau, he traveled to Würzburg where he arrived in November 1750. He remained there for three years during which he executed ceiling paintings in the New Residenz palace (completed 1744). He frescoed the Kaisersaal salon in collaboration with his sons Giandomenico and Lorenzo and was then invited to deliver a design for the grandiose entrance staircase (Treppenhaus) designed by Balthasar Neumann. It is a massive ceiling fresco at 7287 square feet (677 m2), and was completed in November 1753.[15] 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) represent the four continents. He included several portraits in the Europe section of this fresco, including a self-portrait; one of his son Giandomenico; one of the prince-bishop von Greiffenklau; one of the painter Antonio Bossi; and one of the architect, Balthasar Neumann.[16]

Return to Venice and the Veneto (1753–1770)

The Immaculate Conception, by Giovanni Battista Tiepolo, from Prado in Google Earth
The Immaculate Conception, painted between 1767 and 1768

Tiepolo returned to Venice in 1753. He was now in demand locally, as well as abroad where he was elected President of the Academy of Padua. He went on to complete theatrical frescoes for churches; the Triumph of 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 Venetian countryside, such as Villa Valmarana in Vicenza and an elaborate panegyric ceiling for the Villa Pisani in Stra.

In some celebrated frescoes at the Palazzo Labia, he depicted two scenes from the life of Cleopatra: Meeting of Anthony and Cleopatra[1] and Banquet of Cleopatra,[2] as well as, in a central ceiling fresco, the Triumph of Bellerophon over Time. Here he collaborated with Girolamo Mengozzi Colonna. This connection with Colonna, who also designed sets for opera, highlights the increasing tendency towards composition as a staged fiction in Tiepolo's frescoes. The architecture of the Banquet fresco also recalls that of Veronese's Wedding at Cana. In 1757, he painted an altar piece for the Thiene family, representing the apotheosis of Saint Cajetan. It is in the church of hamlet of Rampazzo in the Camisano Vicentino.


Giovanni Battista Tiepolo - Apollo Pursuing Daphne, 1755-1760
Apollo Pursuing Daphne, 1755–1760
Giovanni Battista Tiepolo - Los hebreos recogiendo el maná en el desierto (boceto) - Google Art Project
Manna in the desert

In 1761, Charles III commissioned Tiepolo to create a ceiling fresco to decorate the throne room of the Royal Palace of Madrid. The panegyric theme is the Apotheosis of Spain and has allegorical depictions recalling the dominance of Spain in the Americas and across the globe.

He also painted two other ceilings in the palace, and carried out many private commissions in Spain.[17]However he suffered from the jealousy and the bitter opposition of the rising champion of Neoclassicism, Anton Raphael Mengs; at the instigation of Mengs' supporter, the King's confessor Joaquim de Electa, had Tiepolo's series of canvases for the church of S. Pascual at Aranjuez replaced by works by his favourite.[17]

Tiepolo died in Madrid on March 27, 1770.

After his death, the rise of a stern Neoclassicism and the post-revolutionary decline of absolutism led to the slow decline of the Rococo style associated with his name, but failed to dent his reputation. In 1772, Tiepolo's son was sufficiently respected to be painter to Doge Giovanni II Cornaro, in charge of the decoration of Palazzo Mocenigo in the sestiere of San Polo, Venice.

List of works

Paintings before 1740

Work Date Location Link
The Martyrdom of St. Bartholomew 1722 San Stae, Venice
The Glory of St. Dominic 1723 Gallerie dell'Accademia, Venice
The Rape of Europa c. 1725 Gallerie dell'Accademia, Venice
Allegory of the Power of Eloquence c. 1725 Courtauld Institute, Modello for Palazzo Sandi, Venice
Frescoes 1726 Episcopal palace, Udine
Ca' Dolfin Tiepolos 1726–1729 Metropolitan Museum of Art, New York; Hermitage Museum, St Petersburg; Kunsthistorisches Museum, Vienna
Perseus & Andromeda 1730 Frick Collection
Education of the Virgin 1732 Santa Maria della Consolazione (Fava), Venice
Angel rescuing Hagar 1732 Scuola di San Rocco, Venice
John the Baptist preaching 1732–1733 Cappella Colleoni, Bergamo
Beheading of John the Baptist 1732–1733 Cappella Colleoni, Bergamo
Scourge of the Serpents 1732–1735 Gallerie dell'Accademia, Venice
Joseph receiving ring from pharaoh 1732–1735 Dulwich Picture Gallery
Triumph of Zephyr and Flora 1734–1735 Museo del Settecento Veneziano, Ca' Rezzonico, Venice
Jupiter and 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, Saint John the Evangelist and a bishop 1737–1738 Palais des Beaux-Arts de Lille
Institution of the Rosary 1737–1739 Church of the Gesuati, Venice
Christ Carrying the Cross 1737–1738 Sant'Alvise, Venice
The Madonna of Mount Carmel 1730s Pinacoteca di Brera, Milan
Virgin with Six Saints 1737–1740 Museum of Fine Arts, Budapest
Scipio Africanus Freeing Massiva between 1719 and 1721 The Walters Art Museum, Baltimore, USA

Works from 1740–1750

Work Date Location Link
Alexander the Great and Campaspe in the Studio of Apelles 1740 Getty Center, Los Angeles
The Virgin Appearing to St. Philip Neri 1740 Museo Diocesano, Camerino
The Gathering of Manna 1740–1742 Parrocchiale, Verolanuova
The Sacrifice of Melchizedek 1740–1742 Parrocchial church, Verolanuova
The Finding of Moses 1740–1745 National Gallery of Victoria, Melbourne [3]
Rinaldo Enchanted by Armida 1742 Art Institute of Chicago
Rinaldo and Armida in Her Garden 1742 Art Institute of Chicago
Armida Abandoned by Rinaldo 1742 Art Institute of Chicago
Rinaldo and the Magus of Ascalon 1742 Art Institute of Chicago
The Triumph of Virtue and Nobility over Ignorance 1743 Norton Simon Museum, (Pasadena, CA)
Empire of Flora 1743 The Legion of Honor, (San Francisco, CA)
Time Unveiling Truth c. 1743 Museo Civico Palazzo Chiericati, Vicenza
The Banquet of Cleopatra 1743–1744 National Gallery of Victoria, Melbourne [4]
Worshippers 1743–1745 Gallerie dell'Accademia, Venice
Apollo and Daphne 1755–1760 National Gallery of Art, Washington DC [5]
Discovery of the True Cross c. 1745 Gallerie dell'Accademia, Venice
Time Unveiling Truth c. 1745–1750 Museum of Fine Arts, Boston
Frescoes of the story of Cleopatra 1746 Palazzo Labia, Venice
The Virgin with 3 female Dominican Saints 1739–1748 Church of the Gesuati, Venice
Last Communion of St. Lucy 1747–1748 Santi Apostoli, Venice
The Banquet of Cleopatra and Antony 1747–1750 North Carolina Museum of Art, Raleigh, North Carolina, USA
The Glorification of the Barbaro Family 1749–1750 Metropolitan Museum of Art, New York, USA
St. James the Greater Conquering the Moors 1749–1750 Museum of Fine Arts, Budapest, Hungary
Bacchus and Ariadne 1743–1745 National Gallery of Art, Washington, D.C., USA

Works after 1750

Work Date Location Link
Frescoes 1751–1753 Residenz, Würzburg [6] [7]
Collecting Manna c. 1751 National Museum of Serbia, Belgrade
Allegory of Planets and Continents 1752 Metropolitan Museum of Art, New York [8]
The Death of Hyacinth 1752–1753 Thyssen-Bornemisza Collection, Madrid
Adoration of the Magi 1753 Alte Pinakothek, Munich
Coronation of the Virgin 1754 Kimbell Art Museum, Dallas (modelo for Ospedale della Pietà)
The Entrance of the Gonfaloniere Piero Soderini in Firenze in 1502 (L'ingresso di gonfaloniere Piero Soderini in Firenze nel 1502) 1754 Swiss Ambassy, Roma, Italy [9]
An Allegory with Venus and Time 1754–1758 National Gallery, London, England
Frescoes from Roman mythology 1757 Villa Valmarana, Vicenza
A Seated Man and a Girl with a Pitcher c. 1755 National Gallery, London
The Theological Virtues c. 1755 Royal Museums of Fine Arts of Belgium, Brussels
The Martyrdom of St. Agatha c. 1756 Staatliche Museen, Berlin, Germany
Allegory of Merit 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 of Santa Tecla, Este
The Vision of St. Anne 1759 Gemäldegalerie, Dresden
Virtue and Nobility Crowning Love 1759–1761 Museum of Fine Arts
Modello for the Apotheosis of the Pisani Family 1760 Musée des Beaux-Arts d'Angers
Madonna of the 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 Immaculate Conception 1767–1769 Museo del Prado, Madrid
Glory of Spain 1762–1766 Throne Room of Royal Palace of Madrid
The Apotheosis of the Spanish Monarchy 1762–1766 Queen's Antechamber, Palacio Real, Madrid
Venus and Vulcan 1762–1766 Halberdiers' Room, Palacio Real, Madrid
The Entombment of Christ 1769–1770 National Museum of Ancient Art, Lisbon [10]
The Flight to Egypt 1765–1770 National Museum of Ancient Art, Lisbon [11]


  1. ^ a b Levey 1980, p. 193.
  2. ^ "Scipio Africanus Freeing Massiva".
  3. ^ a b Barcham, William L. "Tiepolo". Grove Art Online. Oxford Art Online, Oxford University Press. Retrieved 3 May 2014. (subscription required)
  4. ^ "Tièpolo, Giambattista". Treccani (in Italian). Treccani. Retrieved 3 May 2014.
  5. ^ a b c Giambattista Tiepolo 1698–1770 1996, p. 37.
  6. ^ Giambattista Tiepolo 1698–1770 1996, p. 37–8.
  7. ^ Giambattista Tiepolo 1698–1770 1996, p. 57.
  8. ^ Giambattista Tiepolo 1698–1770 1996, p. 39.
  9. ^ Giambattista Tiepolo 1698–1770 1996, p. 40–1.
  10. ^ a b Giambattista Tiepolo 1698–1770 1996, p. 41.
  11. ^ Levey 1980, p. 198–9.
  12. ^ Wittkower 1973, p. 490.
  13. ^ Giambattista Tiepolo 1698–1770 1996, pp. 349– 50.
  14. ^ Giambattista Tiepolo 1698–1770 1996, pp. 358– 9.
  15. ^ Levey 1980, pp. 225–230.
  16. ^ "Residenz staircase". Wurzburg Residenz. Archived from the original on 2008-06-29.
  17. ^ a b Wittkower 1973, p. 486.


  • Giambattista Tiepolo 1698–1770 (Exhibition catalogue). New York: Metropolitan Museum of Art. 1996. ISBN 9780870998119.
  • Levey, Michael (1980). Painting in Eighteenth-Century Venice (revised ed.). Cornell University Press. pp. 225–230.
  • Wittkower, Rudolf (1993). Art and Architecture in Italy.

Further reading

  • Barcham, William L. (1992). Giambattista Tiepolo. Thames and Hudson. ISBN 0-500-08054-2.
  • Baxandall, Michael; Alpers, Svetlana (1994). Tiepolo and the Pictorial Intelligence. New Haven: Yale University Press.
  • Rizzi, Aldo (1971). The etchings of the Tiepolos. Electa. ISBN 0-7148-1499-7.
  • 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 Knox, Domenico Tiepolo: A New Testament, Bloomington, IN, Indiana UP, 2006.
  • Christiansen, Keith. Giambattista Tiepolo, 1696–1770, New York: Metropolitan Museum of Art, 1996. ISBN 9780870998119.
  • Boorsch, Suzanne. Venetian prints and books in the age of Tiepolo, New York: Metropolitan Museum of Art, 1997. ISBN 9780300203271.

External links

Allegory of the Planets and Continents

Allegory of the Planets and Continents is an 18th-century painting by Italian artist Giovanni Battista Tiepolo. Done in oil on canvas, the allegorical work uses human figures to represent members of the Greco-Roman pantheon, the planets, and four continents. The painting is an elaborate oil sketch made by Tiepolo in preparation for rendering a similar, larger version of his scene.

Ca' Dolfin Tiepolos

The Ca' Dolfin Tiepolos are a series of 10 oil paintings made c.1726-1729 by Giovanni Battista Tiepolo for the main reception room or salone of the Palazzo Ca' Dolfin, the palazzo of the patrician Dolfin family (sometimes spelled Delfini, Delfino, or Delfin) in Venice. The paintings are theatrical depictions of events from the history of Ancient Rome, with a typically Venetian emphasis on drama and impact rather than historical accuracy. They were painted on shaped canvases and set into the architecture with frescoed surrounds.

The Tarantine Triumph was the first work completed, depicting the triumph awarded to Manius Curius Dentatus after defeating Pyrrhus of Epirus in the Battle of Beneventum, the last battle of the Pyrrhic War in 275 BC, at which captured elephants were first seen in Rome. The Triumph of Marius was the last completed, depicting the triumph awarded to Gaius Marius after defeating Jugurtha of Numidia in the Jugurthine War: it is dated 1729, and includes a self-portrait of Tiepolo on the left. The differences in style and composition between the works demonstrate Tiepolio's rapid development as a painter.

The series was quickly recognised as a masterpiece, and its success drove forward Tiepolo's career. He decorated buildings across Venice and the Veneto in the following decades. The paintings remained in Venice until sold in 1872, and are now held in three museums, with two held by the Kunsthistorisches Museum in Vienna, three by the Metropolitan Museum of Art in New York, and five by the Hermitage Museum in St Petersburg.

Ca' Zenobio degli Armeni

The Ca' Zenobio degli Armeni is a Baroque-style palace structure in the sestiere of Dorsoduro, in Venice, Italy.

The palace initially was constructed in 1690 by the Zenobio family, who retained possession til the 19th century. The design was by the architect Gaspari, pupil of Baldassare Longhena. In 1850 it became the home of the College of the Padri Armeni Mechitaristi di S. Lazzaro. The Hall of Mirrors or Sala degli Specchi was a ballroom, and the adjacent room was decorated by Ludovico Dorigny, Gregorio Lazzarini, and a young Giovanni Battista Tiepolo. The panels depict mythologic scenes and the life of Queen Zenobia, of the 3rd-century Palmyrene Empire, putatively ancestor of this family. The entrance has vedute by Luca Carlevarijis. The archive and library in the garden were designed by the Neoclassical architect Tommaso Temanza.

Castello di Zoppola

The Castle of Zoppola is an 11th-century castle in the Province of Pordenone in the region of Friuli-Venezia Giulia in Northern Italy.

In 1103, the castle was given to the Zoppola family. Once surrounded by three moats and walls. By 1405, it came to be owned by the patriarch of Aquileia, Antonio Panciera, who later became cardinal. It still belongs to the family. In the interior courtyard are frescoes by Pomponio Amalteo. The interior has frescoes by Giovanni Battista Tiepolo, Pietro Longhi, and Giovanni da Udine (attributed).

Charles Bierer Wrightsman

Charles Bierer Wrightsman (13 June 1895 – 27 May 1986 in Manhattan) was an American oil executive and arts patron. His second wife, Jayne was also an arts patron.

Charles Bierer Wrightsman would marry twice. His first wife was Irene Stafford, with whom he had two daughters, Irene Wrightsman and Charlene Stafford Wrightsman (1927–1963) the latter of which, like her father, would also marry twice, first to actor Helmut Dantine and second to newspaper columnist Igor Cassini. His second wife was the above-noted Jayne Kirkman Larkin (b. 1919).

On retirement, he used his money to buy artworks for his private collection and for the Metropolitan Museum of Art, most notably donating Gerard David's Virgin and Child with Four Angels and Vermeer's Portrait of a Young Woman, along with works by El Greco, Giovanni Battista Tiepolo, Georges de La Tour, Rubens and Jacques-Louis David. He also funded the Museum's eight Wrightsman Rooms, furnished and decorated in the 18th century French style, and three further galleries for objets-d'art and furniture from that period.He also successfully bid for Goya's Portrait of the Duke of Wellington, which was instead sold to the National Gallery in London to enable it to stay in the United Kingdom. He also had homes in London and Palm Beach at which he frequently hosted John F Kennedy.

Domenico Pasquini

Domenico Pasquini (1740–June 29, 1798) was an Italian painter, active in Poland and Russia, where he painted a portrait of Catherine the Great. He was a pupil of Giovanni Battista Tiepolo in Venice. He died in Italy 1798

Francesco Fontebasso

Francesco Fontebasso (4 October 1707 – 31 May 1769) was an Italian painter of the late-Baroque or Rococo period of Venice. He first apprenticed with Sebastiano Ricci, but was strongly influenced by his contemporary, Giovanni Battista Tiepolo. In 1761, Fontebasso visited Saint Petersburg and produced ceiling paintings and decorations for the Winter Palace. Fontebasso returned to Venice in 1768. He helped decorate a chapel in San Francesco della Vigna.

He died in Venice in 1769. He is represented in collections in e.g. Kadriorg Palace (part of the Art Museum of Estonia) in Tallinn, Estonia.

Francesco Maria Tassi

Francesco Maria Tassi (1716 in Bergamo – 1782) was an Italian art historian whose book, Lives of the Painters, Sculptors, and Architects of Bergamo, published posthumously in 1793, provided important biographical information on artists such as Lorenzo Lotto, Fra Galgario, Giovanni Battista Tiepolo, and Francesco Zuccarelli. His account of contemporaries was often enlivened by first-hand knowledge, for example with Tiepolo and Zuccarelli, who at times visited Tassi's home villa of Tasso, called Celadina, in Bergamo. Tassi also edited a compilation of writings by Benvenuto Cellini which appeared in print in 1829.

Giovanni Antonio Pellegrini

Giovanni Antonio Pellegrini (29 April 1675 – 2 November 1741) was one of the leading Venetian history painters of the early 18th century. His style melded the Renaissance style of Paolo Veronese with the Baroque of Pietro da Cortona and Luca Giordano. He travelled widely on commissions which brought him to England, the Southern Netherlands, the Dutch Republic, Germany, Austria and France. He is considered an important predecessor of Giovanni Battista Tiepolo. One of his pupils was Antonio Visentini.

Giovanni Battista Mingardi

Giovanni Battista Mingardi (Born Padua, died Venice 1796) was an Italian painter, active in a late-Baroque style mainly in Venice and its mainland territories. He trained under Giovanni Battista Tiepolo. He painted for the church of San Lazzaro dei Mendicanti in Venice.

Giovanni Domenico Tiepolo

Giovanni Domenico Tiepolo (August 30, 1727 – March 3, 1804) was an Italian painter and printmaker in etching. He was the son of artist Giovanni Battista Tiepolo and elder brother of Lorenzo Baldissera Tiepolo.

Jacopo Guarana

Jacopo Guarana (October 28, 1720 – April 18, 1808) was a Venetian painter of the late Baroque period who was born in Verona. He was active mainly in Venice and its mainland territories.

In 1750 he completed frescoes for the interior of Ca' Rezzonico and, in 1780, for the church of San Tomà. He also painted for the church of San Teonisto in Treviso and the Villa Contarini in Cinto Euganeo and helped decorate the Villa Pisani at Stra. Other works were completed for the Palazzo Balbi, Palazzo Boldù a San Felice, Palazzo Erizzo a San Martino, and Palazzo Mocenigo a San Stae.

Guarana is the last remaining direct heir of the Tiepolesque tradition. He was a founding member of the Venetian Accademia di Belle Arti and is said to have studied under Sebastiano Ricci, then with Giovanni Battista Tiepolo.

Among his most popular works are the wall frescoes at the concert hall of the Ospedaletto, Venice. By the time he painted a Sacred heart of Jesus and Saints for the church of San Polo, his work would have been considered "retardataire", a glimpse of a lapsing past.

His son, Vincenzo Guarana, born in 1742, was also a painter.

Pastellist Anna Pasetti was active as a copyist in Guarana's studio.

Lorenzo Baldissera Tiepolo

Lorenzo Baldissera Tiepolo (8 August 1736 – August 1776) was an artist and son of the more famous Giovanni Battista Tiepolo. In 1750, he travelled to Würzburg with his father and brother, Giovanni Domenico Tiepolo, where he worked alongside them on the decorative fresco cycle in the Würzburg Residence. A number of drawings have been attributed to him from these apprentice years.

San Filippo Neri, Camerino

San Filippo Neri is a Baroque style Roman Catholic church in Camerino, in the province of Macerata, region of Marche, Italy.

The church was commissioned by the Oratorians and erected in 1733 by the architects Pietro Loni and Domenico Cipriani. The oval interior layout has three chapels. The second chapel to the right of the main altar once housed a Madonna in Glory with St Phillip (circa 1740), by Giovanni Battista Tiepolo, now move to Diocesan Museum. The church also houses a Crucifixion (1454) and Annunciation by Girolamo di Giovanni.


The Schaezlerpalais is a magnificent baroque palace in Augsburg.

The Palace extends far back from the street, encompassing dozens of magnificent rooms, courtyards and gardens. The gilded, mirrored, ballroom, built between 1765-70) survives intact, and is widely regarded as the most artistically significant Rococo ball room in Germany. Carl Albert von Lespilliez was the architect of the Schaezlerpalais.

The building is a registered historic monument declared by the State of Bavaria.

The palace houses the following art collections

Deutsche Barockgalerie, Southern German paintings of the 17th and 18th century (1st floor)

Karl und Magdalene Haberstock-Stiftung Baroque paintings, e.g. Paolo Veronese, Canaletto, Anthony van Dyck and Giovanni Battista Tiepolo (2nd floor)

Staatsgalerie Altdeutsche Meister with paintings from Southern Germany of the 15th and 16th century (in a former monastery ["Katharinenkloster"]), a subsidiary of Bavarian State Picture Collection (Bayerische Staatsgemäldesammlungen)

Temporary exhibition rooms (2nd floor)Adjacent to the building complex, a Baroque garden is open to the public.

Scipio Africanus Freeing Massiva (painting)

Scipio Africanus Freeing Massiva (alt. Scipio Liberating Massiva) is a painting depicting a scene from ancient Roman history by the Venetian artist Giovanni Battista Tiepolo (alt. Giambattista Tiepolo), painted between 1719 and 1721. The painting depicts the Roman general Scipio Africanus after the 209 BCE Battle of Baecula in present-day Spain where he defeated the Carthaginians, capturing their Iberian and North African allies. The painting details the moment in which one of the captured Africans is brought before Scipio, who recognises him to be Massiva, the nephew of a chieftain of Eastern Numidia, Massinissa. Scipio reportedly frees Massiva, sending him home to his uncle laden with gifts and so winning Massinissa’s loyalty for Rome.Giovanni Battista Tiepolo (1696-1770) was an Italian painter and etcher most famous for his decorative fresco cycles. Tiepolo joined the Venetian painters’ confraternity in 1717 at twenty one years of age. His patrons included such people as doge Giovanni II Cornaro, archbishop Dionisio Dolfin of Udine, the Swedish ambassador Count Carl Gustaf Tessin and Charles III of Spain. Tiepolo died in Madrid while working for Charles III and his work quickly went out of style. Tiepolo’s works, especially his frescoes, were developed through a process of drawings and oil sketching and then finally he would work onto the wall where the fresco would be. Tiepolo’s work was famous, and is still highly regarded today, for his responses to the light at the site where the painting was to the executed and how this affected his processes.

The Banquet of Cleopatra (Tiepolo)

The Banquet of Cleopatra is a painting by Giovanni Battista Tiepolo completed in 1744. It is now in the National Gallery of Victoria in Melbourne, Australia.

This is the first of three large paintings of the subject done by Tiepolo. In addition the much smaller oil studies or modelli for each survive.

Tiepolo returned to the subject a few years later at the Palazzo Labia in Venice with his frescos on Antony and Cleopatra: the Banquet was paired with a Meeting of Cleopatra and Mark Anthony and surrounding scenes of gods and attendants. Two further large oils by Tiepolo of these scenes are in Arkhangelskoye Palace near Moscow (1747, 338 x 600 cm).Tiepolo typically made oil sketch modelli with varying degrees of finish to show his composition and, perhaps, submit it for approval to the client. The modello for the Melbourne painting is in the Musée Cognacq-Jay in Paris, and was owned by Count Francesco Algarotti until his death. There is a small (46.3 by 66.7 centimetres (18.2 in × 26.3 in)) oil sketch by Tiepolo in the National Gallery, London, which may relate to the Palazzo Labia, although it differs considerably from the work in Venice, and it is more usually regarded as a study for the Archangelskoye painting. There is another small oil in the collection of Stockholm University in Sweden, a modello for the Palazzo Labia composition, and there are a number of preparatory drawings in various collections.

The Immaculate Conception (Tiepolo)

The Immaculate Conception is a painting by Italian painter Giovanni Battista Tiepolo (1696–1770). It represents the Immaculate Conception, a tradition of the Catholic Church stating that the Virgin Mary was conceived without original sin. The painting was commissioned in 1767, at a time when the Immaculate Conception was already a common theme in art, the Feast of the Immaculate Conception (8 December) having been restored to the Calendar of Saints in 1708, though its theology would not be definitely settled as dogma until Pope Pius IX's declaration in 1854.The painting was one of seven altarpieces commissioned in March 1767 from Tiepolo by King Charles III of Spain for the Church of Saint Pascual in Aranjuez, then under construction. This was originally an Alcantarine (Franciscan) monastery that was later assigned to the Conceptionist nuns. It depicts the Virgin Mary, surrounded by angels and crowned with the circle of stars. She is shown trampling a snake, representing her victory over the devil. The lilies and the rose are references to hortus conclusus ("enclosed garden"), and symbolize Mary's love, virginity and purity. The painting is now in the Prado Museum, Madrid.

Time Unveiling Truth (Tiepolo)

Time Unveiling Truth is a painting (c. 1745–50) by the Italian painter Tiepolo. It is now on display in the Museum of Fine Arts, Boston in Boston, Massachusetts. Father Time is shown on a chariot with a scythe uncovering the body of a female figure of Truth.

This page is based on a Wikipedia article written by authors (here).
Text is available under the CC BY-SA 3.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.