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Giambattista Tiepolo The Death of Hyacinthus nn05
1752-1753
Tennis with Apollo
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Giambattista Tiepolo The Triumph of Marius mk52
1729
Oil on canvas
5.6x3.3cm
Metropolitan Museum of Art,New York
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Giambattista Tiepolo Details from The Triumph of Marius mk52
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Giambattista Tiepolo Details of The Death of Hyacinthus nn05
A god plagued by dreadful guilt
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Giambattista Tiepolo Details of The Death of Hyacinthus nn05
a sport with deadly balls
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Giambattista Tiepolo Details of The Death of Hyacinthus nn05
Count Wilhelm ruins his reputation
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Giambattista Tiepolo Details of The Death of Hyacinthus nn05
An enlightened despot
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Giambattista Tiepolo Abraham and the Angels mk68
Oil on canvas
Venice,Confraternity of San Rocco
c.1732
Italy
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Giambattista Tiepolo Pulcinella in Love mk68
Venice,Ca'Rezzonico Museum
1797
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Giambattista Tiepolo Recreation by our Gallery mk79
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Giambattista Tiepolo Giambattista mk79
About 1740
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Giambattista Tiepolo Recreation by our Gallery 02 mk79
About 1746
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Giambattista Tiepolo Recreation by our Gallery mk79
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Giambattista Tiepolo Recreation by our Gallery mk79
About 1742-1745
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Giambattista Tiepolo Recreation by our Gallery mk79
About 1745
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Giambattista Tiepolo Recreation by our Gallery mk79
About 1742-1745
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Giambattista Tiepolo Recreation by our Gallery mk79
About 1742-1745
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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
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Giambattista Tiepolo St James the Greater Conquering the Moors 1749-50
Oil on canvas,
317 x 163 cm
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Giambattista Tiepolo Muse most par Giambattista Tiepolo the last Abendmabl mk186
around 1745-50 you Louvre
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Giambattista Tiepolo
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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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