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Giambattista Tiepolo
Giambattista Tiepolo
Giambattista Tiepolo
Born in Venice in 1696, Tiepolo learnt his trade in the workshop of maestro Gregorio Lazzarini, and in 1717 he was already a member of the Fraglia dei Pittori Veneziani (the Corporation of Venetian painters). Thus, it is likely that at that time he was already working independently. Besides Venice, in his lengthy artistic career, he painted a series of frescoes in the nearby cities of Udine, Vicenza and Milan. His artistic skills were such that his name became famous in all of the courts of Europe. He was summoned to work also in Würzburg, in Bavaria, and in Madrid at the court of Charles III, where he was to pass away in 1770.Giambattista Tiepolo
Born in Venice in 1696, Tiepolo learnt his trade in the workshop of maestro Gregorio Lazzarini, and in 1717 he was already a member of the Fraglia dei Pittori Veneziani (the Corporation of Venetian painters). Thus, it is likely that at that time he was already working independently. Besides Venice, in his lengthy artistic career, he painted a series of frescoes in the nearby cities of Udine, Vicenza and Milan. His artistic skills were such that his name became famous in all of the courts of Europe. He was summoned to work also in Würzburg, in Bavaria, and in Madrid at the court of Charles III, where he was to pass away in 1770.
Tiepolo is considered one of the greatest Venetian artists of the eighteenth century, and is famous for his frescoes featuring dreamlike compositions and magnificent scenes. Thanks to his incredible pictorial ability, he was able to create the illusion of infinite space in the rooms he decorated.
Tiepolo is considered one of the greatest Venetian artists of the eighteenth century, and is famous for his frescoes featuring dreamlike compositions and magnificent scenes. Thanks to his incredible pictorial ability, he was able to create the illusion of infinite space in the rooms he decorated.
Introduction
Introduction
The painting, of a considerable size, was probably meant to be a sketch to be used as the basis for a frescoed ceiling, since lost or never actually completed, of a particular building. A large light-blue strip of sky is populated by figures emerging from the clouds, painted in colours ranging from yellow, to orange and grey, and this continuous alternation of colours lends the whole composition a certain uniformity. All of the items depicted on the canvas follow a circular movement, as if part of a cupola, culminating in the figure of Christ at the centre of the scene.
The work is at Fondazione Querini Stampalia in Venice.
The painting, of a considerable size, was probably meant to be a sketch to be used as the basis for a frescoed ceiling, since lost or never actually completed, of a particular building. A large light-blue strip of sky is populated by figures emerging from the clouds, painted in colours ranging from yellow, to orange and grey, and this continuous alternation of colours lends the whole composition a certain uniformity. All of the items depicted on the canvas follow a circular movement, as if part of a cupola, culminating in the figure of Christ at the centre of the scene.
The work is at Fondazione Querini Stampalia in Venice.