Giovanni Domenico Tiepolo, Giandomenico Tiepolo
Paintings
The Madonna And Child With The Infant St John The Baptist
Christ and the Woman taken in Adultery
The Building of the Trojan Horse
The Lamentation at the Foot of the Cross
The Lamentation at the Foot of the Cross
The Marriage of Frederick Barbarossa
The Procession of the Trojan Horse into Troy
The Miracle of the Pool of Bethesda
Villa Vallmarana: Angelica, Medorus and two farmers
Villa Vallmarana: Apollo and Diana
Villa Vallmarana: peasant family at table
Villa Vallmarana: Chinese Prince at soothsayer
Villa Vallmarana: Chinese cloth merchant
Villa Vallmarana: The declaration of love
Villa Vallmarana: The declaration of love, detail
Villa Vallmarana: The New World
Villa Vallmarana: fruits as an offering
Villa Vallmarana: Landscape with mandarin tree
Villa Vallmarana: Landscape with sedentary farmer
Villa Vallmarana: Landscape with two farmers
Villa Vallmarana: Mars, Venus and Cupid
Villa Vallmarana: rest of the farmers
Villa Vallmarana: walk in the summer
Villa Vallmarana: walk in winter
Illustrations, Drawings
Creation Of The Universe
God The Father Supported By Angels
Fine Art Prints | Greeting Cards | Phone Cases | Lifestyle | Face Masks | Men's , Women' Apparel | Home Decor | jigsaw puzzles | Notebooks | Tapestries | ...
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. Domenico was born in Venice, studied under his father, and by the age of 13 was the chief assistant to him. He was one of the many assistants, including Lorenzo, who transferred the designs of his father (executed in the 'oil sketch' invented by the same). By the age of 20, he was producing his own work for commissioners.
He assisted his father in Würzburg 1751-3, decorating the famous stairwell fresco, in Vicenza at the Villa Valmarana in 1757, and in Madrid at the palace of Charles III from 1762-70. His painting style developed after the death of his father in 1770, at which time he returned to Venice, and worked there as well as in Genoa and Padua. His painting, though keeping the decorative influence of his father, moved from its spacial fancy and began to take a more realistic depiction. His portraits and scenes of life in Venice are characterised by movement, colour, and deliberate composition.
After a lapse of 15 years, his work developed from the religious and mythological subjects of his father to a more secular style. He produced 104 sketches of Punchinello, the standard character of the commedia dell'arte (which would later become Punch in Punch and Judy), a physically deformed clown. These were created as 'Entertainments for the Children', and attempted to poke fun at the pretensions and behaviour of the viewer. The same protagonist featured in frescos in his family villa in Venice.
Many of Domenico's works are drawings with ink wash, and he was a fine draftsman, although weaker than his father. His St. Ambrose Addressing the Young St. Augustine sketch is typical of the commissions he would receive. St. Ambrose, with the crozier and mitre, addresses and gives religious instruction to the beardless Saint Augustine. The composition has the pomp and grandiosity of his father's work, set out as if part of a theatrical display. He, however, takes 18th-century Venice as the setting for this 4th-century act, drawing on his experience of the city and his many works depicting life in it.
Domenico was also a significant printmaker in etching, often reproducing his own or his father's paintings. Nevertheless, he produced an original series of twenty illustrations of the Flight into Egypt, and one of the fourteen Stations of the Cross.
The Art Gallery of New South Wales (Sydney, Australia), the Blanton Museum of Art (University of Texas, Austin), the Cleveland Museum of Art, the Finnish National Gallery, the Honolulu Museum of Art, the Indiana University Art Museum, Kunst Indeks Danmark, the Minneapolis Institute of Arts, the Musée des Beaux-Arts de Caen, the Musée des Beaux-Arts de Strasbourg, the Musée du Louvre (Paris), Thyssen-Bornemisza Museum (Madrid), Museu Nacional d'Art de Catalunya (Barcelona), the National Gallery, London, the National Museums and Galleries of Wales, the Philadelphia Museum of Art, Pinacoteca Ambrosiana (Milan), Pinacoteca di Brera (Milan), the Portland Art Museum, the Royal Museums of Fine Arts of Belgium, the Seattle Art Museum, the Los Angeles County Museum of Art, the Victoria and Albert Museum and the Wadsworth Atheneum are among the public collections holding paintings by Giovanni Domenico Tiepolo.
Selected works
The quack or tooth puller (1754) - Musée du Louvre, Paris
A New Testament (edition 2006)[1]
Further reading
Peter Parshall, "Giovanni Domenico Tiepolo: The Pastiche as Capriccio," Print Quarterly, XXVIII, 2011, pp. 327–30
See also
Giovanni Battista Tiepolo, father
References
Adelheid M. Gealt, George Knox, Domenico Tiepolo: A New Testament Frick Collection - 2006- Page viii "This volume brings together for the first time the 313 drawings by the Venetian master Domenico Tiepolo (1727—1804) that make up the series we have entitled A New Testament. Though not recorded in his ..."
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Fine Art Prints | Greeting Cards | Phone Cases | Lifestyle | Face Masks | Men's , Women' Apparel | Home Decor | jigsaw puzzles | Notebooks | Tapestries | ...
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