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Giambattista Tiepolo
1696-1770 Italian painter, master of Venetian school. Tiepolo was famous in his own lifetime as a superb painter in fresco and a brilliant draftsman. A highly inventive artist, he could create spectacular effects in difficult sites, from the narrow gallery at the patriarchal palace at Udine in the mid-1720s to the vast staircase ceiling in the Residenz at Werzburg in the early 1750s. Contemporaries recognized his spirited, dynamic approach to subject matter and his frankly sensuous manner of painting. Tiepolo is comparable in his restless energy and imaginative power to Peter Paul Rubens, and essentially he worked with a similar baroque language of myth, allegory, and history, which he infused with a sense of freshness and modernity. His approach to religious art is characterized by candor and naturalism, while he was responsive to the different concerns of patrons and viewers at a time when the church was faced with new kinds of devotion and criticism. With the advent of neoclassicism, Tiepolo's art fell from favor: In an age that prized archaeological correctness, rationality, and ideals of improvement, his witty, Veronese-inspired conception of historical or classical subjects seemed frivolous, while his visually seductive qualities were seen as inimical to the serious intellectual aims of the new art. Nevertheless, his drawings and oil sketches continued to appeal to collectors, including Antonio Canova. The son of a Venetian shipping merchant, Tiepolo was apprenticed in 1710 to Gregorio Lazzarini (1655C1730), an artist of international reputation patronized by prominent Venetian families. Before becoming an independent master, he worked in the household of Doge Giovanni Corner; members of the Corner family were to be his most steadfast and liberal patrons. Lazzarini encouraged his pupils to study Venetian sixteenth-century art, and Tiepolo made drawings of some famous works for publication in Domenico Lovisa's Gran Teatro di Venezia of 1717. His early involvement with the thriving Venetian engraving and publishing world was renewed in 1724 when he made drawings of antique sculpture as illustrations for Scipione Maffei's Verona Illustrata, an experience that gave Tiepolo an imaginative empathy with fragmentary antique remains, which recur in his drawings, etchings, and paintings. As well as studying the art of the past, Tiepolo looked to the tenebrism of Federico Bencovich (1677C1753) and the realism and monumentality of Giovanni Battista Piazzetta (1682C1754). In 1719 Tiepolo married Cecilia Guardi, with whom he was to have nine children. By then, the artist was working for a network of mercantile and noble patrons on religious and secular subjects.

 

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Giambattista Tiepolo The Death of Hyacinthus oil painting

Painting ID::  30292

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Giambattista Tiepolo
The Death of Hyacinthus
nn05 1752-1753 Tennis with Apollo
   
   
     

 

 

Giambattista Tiepolo The Triumph of Marius oil painting

Painting ID::  26903

X 
 

Giambattista Tiepolo
The Triumph of Marius
mk52 1729 Oil on canvas 5.6x3.3cm Metropolitan Museum of Art,New York
   
   
     

 

 

Giambattista Tiepolo Details from The Triumph of Marius oil painting

Painting ID::  26904

X 
 

Giambattista Tiepolo
Details from The Triumph of Marius
mk52
   
   
     

 

 

Giambattista Tiepolo Details of The Death of Hyacinthus oil painting

Painting ID::  30293

X 
 

Giambattista Tiepolo
Details of The Death of Hyacinthus
nn05 A god plagued by dreadful guilt
   
   
     

 

 

Giambattista Tiepolo Details of The Death of Hyacinthus oil painting

Painting ID::  30294

X 
 

Giambattista Tiepolo
Details of The Death of Hyacinthus
nn05 a sport with deadly balls
   
   
     

 

 

Giambattista Tiepolo Details of The Death of Hyacinthus oil painting

Painting ID::  30295

X 
 

Giambattista Tiepolo
Details of The Death of Hyacinthus
nn05 Count Wilhelm ruins his reputation
   
   
     

 

 

Giambattista Tiepolo Details of The Death of Hyacinthus oil painting

Painting ID::  30296

X 
 

Giambattista Tiepolo
Details of The Death of Hyacinthus
nn05 An enlightened despot
   
   
     

 

 

Giambattista Tiepolo Abraham and the Angels oil painting

Painting ID::  30608

X 
 

Giambattista Tiepolo
Abraham and the Angels
mk68 Oil on canvas Venice,Confraternity of San Rocco c.1732 Italy
   
   
     

 

 

Giambattista Tiepolo Pulcinella in Love oil painting

Painting ID::  30655

X 
 

Giambattista Tiepolo
Pulcinella in Love
mk68 Venice,Ca'Rezzonico Museum 1797
   
   
     

 

 

Giambattista Tiepolo Recreation by our Gallery oil painting

Painting ID::  32541

X 
 

Giambattista Tiepolo
Recreation by our Gallery
mk79
   
   
     

 

 

Giambattista Tiepolo Giambattista oil painting

Painting ID::  32562

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Giambattista Tiepolo
Giambattista
mk79 About 1740
   
   
     

 

 

Giambattista Tiepolo Recreation by our Gallery 02 oil painting

Painting ID::  32586

X 
 

Giambattista Tiepolo
Recreation by our Gallery 02
mk79 About 1746
   
   
     

 

 

Giambattista Tiepolo Recreation by our Gallery oil painting

Painting ID::  32599

X 
 

Giambattista Tiepolo
Recreation by our Gallery
mk79
   
   
     

 

 

Giambattista Tiepolo Recreation by our Gallery oil painting

Painting ID::  32607

X 
 

Giambattista Tiepolo
Recreation by our Gallery
mk79 About 1742-1745
   
   
     

 

 

Giambattista Tiepolo Recreation by our Gallery oil painting

Painting ID::  32608

X 
 

Giambattista Tiepolo
Recreation by our Gallery
mk79 About 1745
   
   
     

 

 

Giambattista Tiepolo Recreation by our Gallery oil painting

Painting ID::  32609

X 
 

Giambattista Tiepolo
Recreation by our Gallery
mk79 About 1742-1745
   
   
     

 

 

Giambattista Tiepolo Recreation by our Gallery oil painting

Painting ID::  32610

X 
 

Giambattista Tiepolo
Recreation by our Gallery
mk79 About 1742-1745
   
   
     

 

 

Giambattista Tiepolo Hl. Thekla erlost Este of the plague oil painting

Painting ID::  39447

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Giambattista Tiepolo
Hl. Thekla erlost Este of the plague
mk148 1759 for the cathedral of Este prepared was freed in accordance with delivery thanks to the intercession of the holy the city 1638 of the plague
   
   
     

 

 

Giambattista Tiepolo St James the Greater Conquering the Moors oil painting

Painting ID::  43660

X 
 

Giambattista Tiepolo
St James the Greater Conquering the Moors
1749-50 Oil on canvas, 317 x 163 cm
   
   
     

 

 

Giambattista Tiepolo Muse most par Giambattista Tiepolo the last Abendmabl oil painting

Painting ID::  45425

X 
 

Giambattista Tiepolo
Muse most par Giambattista Tiepolo the last Abendmabl
mk186 around 1745-50 you Louvre
   
   
     

 

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Giambattista Tiepolo
1696-1770 Italian painter, master of Venetian school. Tiepolo was famous in his own lifetime as a superb painter in fresco and a brilliant draftsman. A highly inventive artist, he could create spectacular effects in difficult sites, from the narrow gallery at the patriarchal palace at Udine in the mid-1720s to the vast staircase ceiling in the Residenz at Werzburg in the early 1750s. Contemporaries recognized his spirited, dynamic approach to subject matter and his frankly sensuous manner of painting. Tiepolo is comparable in his restless energy and imaginative power to Peter Paul Rubens, and essentially he worked with a similar baroque language of myth, allegory, and history, which he infused with a sense of freshness and modernity. His approach to religious art is characterized by candor and naturalism, while he was responsive to the different concerns of patrons and viewers at a time when the church was faced with new kinds of devotion and criticism. With the advent of neoclassicism, Tiepolo's art fell from favor: In an age that prized archaeological correctness, rationality, and ideals of improvement, his witty, Veronese-inspired conception of historical or classical subjects seemed frivolous, while his visually seductive qualities were seen as inimical to the serious intellectual aims of the new art. Nevertheless, his drawings and oil sketches continued to appeal to collectors, including Antonio Canova. The son of a Venetian shipping merchant, Tiepolo was apprenticed in 1710 to Gregorio Lazzarini (1655C1730), an artist of international reputation patronized by prominent Venetian families. Before becoming an independent master, he worked in the household of Doge Giovanni Corner; members of the Corner family were to be his most steadfast and liberal patrons. Lazzarini encouraged his pupils to study Venetian sixteenth-century art, and Tiepolo made drawings of some famous works for publication in Domenico Lovisa's Gran Teatro di Venezia of 1717. His early involvement with the thriving Venetian engraving and publishing world was renewed in 1724 when he made drawings of antique sculpture as illustrations for Scipione Maffei's Verona Illustrata, an experience that gave Tiepolo an imaginative empathy with fragmentary antique remains, which recur in his drawings, etchings, and paintings. As well as studying the art of the past, Tiepolo looked to the tenebrism of Federico Bencovich (1677C1753) and the realism and monumentality of Giovanni Battista Piazzetta (1682C1754). In 1719 Tiepolo married Cecilia Guardi, with whom he was to have nine children. By then, the artist was working for a network of mercantile and noble patrons on religious and secular subjects.