乔凡尼·多梅尼科·提埃坡罗作品集

生活史

多梅尼科出生在 威尼斯， 他帮他父亲 Würzburg 1751-3，装饰壁画中著名的楼梯， 维琴察 1757位于瓦尔马拉纳别墅，和 马德里 在宫殿 查理三世 从1762年70。

作品

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  Crotta家庭的圣徒 ，1750， städelsches艺术学院

   

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  西庇阿的贞节 ，1751， städelsches艺术学院

   

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  一个老人研究头 ，1756， städelsches艺术学院

   

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  pulcinellas父亲带回他的新娘，1797， städelsches艺术学院

   

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  圣狮子荣耀的素描，对三狮子教堂的天花板，威尼斯。

   

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  对三狮子教堂的天花板，威尼斯。

   

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  圣安布罗斯的Young St. Augustine。

   

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  punchinello with the ostriches。

   

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  详细说明：呱呱或牙牵引，1754。

   

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  karnevalscene。pulcinellas胜利

   

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  灰狗，画别墅Tiepolo，zianigo，现在雷佐尼可宫，威尼斯

在1770他父亲死后，他的绘画风格的发展，同时，他回到威尼斯，以及在那里工作 热那亚 和 帕多瓦 。他的画，虽然他的父亲装饰的影响，从其空间幻想，开始采取更现实的描述。他在威尼斯的肖像和生活场景的特点是运动，颜色，和故意的成分。

时隔15年，他的工作由 宗教 和 神话 他的父亲更加世俗化的风格主题。他制作了104个草图 胖哥 ，该标准字符 即兴喜剧 （后来成为拳 冲床和朱蒂 ），物理变形的小丑。这些被创造为儿童娱乐，并试图取笑的矫饰和观众的行为。

同样的主角出现在壁画（17591797）在他的别墅二zianigo米拉诺附近。这些壁画脱落，几乎被卖到法国，但当时的公共教育部长，堵住出口，获得他们对威尼斯这座城市。自1936以来，他们一直在显示，在附近的原安排的复制品，在 CA雷佐尼可宫 在运河博物馆。壁画经历了最近的恢复。 ^{[ 1 ]} 这个场景刻画往往是神秘的事件，部分类型和史诗般的闹剧，在玩和工作pulcinellos人群，以及嘉年华现场。体裁主题和幽默是从宏伟的史诗神话不同的画他的父亲。

多梅尼科的许多作品与水墨画，他是一个优秀的绘图员，虽然比他父亲。伊斯 圣安布罗斯的Young St. Augustine 素描是典型的佣金就。 安波罗修 ，与 牧杖 和 切割 ，地址和给宗教教学的需要 奥古斯丁 。该组合物具有浮华与他父亲的工作——出发，仿佛一个戏剧性的显示部分。他，然而，需要第十八世纪威尼斯作为这第四个世纪的行为的设置，在他的城市，他的许多作品描绘生活的经验。

多梅尼科也在蚀刻显著的版画家，经常再现他自己或他父亲的画。然而，他产生了一种原始的系列二十的插图 到埃及的航班 ，和一个十四 的交叉站 。

这个 新南威尔士美术馆 （澳大利亚悉尼），the 布兰顿艺术博物馆 （德克萨斯大学，奥斯丁），这 克利夫兰艺术博物馆 ，的 芬兰国家画廊 ，的 檀香山艺术学院 ，的 印第安那大学艺术博物馆 indeks，kunst danmark， 明尼阿波利斯艺术学院 ，的 美术馆卡昂 ，的 美术馆斯特拉斯堡 ，的 卢浮宫博物馆 （巴黎） 蒂森- bornemisza博物馆 （马德里） 加泰罗尼亚Museu Nacional艺术品 （巴塞罗那）， 国家画廊，伦敦 ，的 国立博物馆和美术馆威尔士 ，的 费城美术馆 软件商店，ambrosiana（AC米兰） 布雷拉画廊 （米兰），其 波特兰艺术博物馆 ，的 比利时皇家美术博物馆 ，的 西雅图艺术博物馆 ，的 洛杉矶郡立美术馆 ，的 维多利亚和Albert Museum 和 沃兹沃思艺术学院 是由Giovanni Domenico Tiepolo拿着画在公共收藏。

作品选

• 庸医或齿拉 （1754）— 卢浮宫博物馆 ， 巴黎
• 新约 （2006版） ^{[ 2 ]}

Giovanni Domenico Tiepolo

From Wikipedia, the free encyclopedia

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 .

Life history

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 spatial 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 (1759-1797) in his villa di Zianigo near Mirano. These frescoes were detached and nearly sold to be sold in France, but the then Minister of Public Education, blocked the export and acquired them for the city of Venice. Since 1936, they have been on display, in a near replica of the original arrangement, in the  Ca Rezzonico  Museum on the Grand Canal. The frescoes have undergone recent restoration. ^[1]  The scenes depict often cryptic events, part genre and part epic-farce, of crowds of Pulcinellos at play and work, as well as a carnival scene. The genre thematic and humor are strikingly different from the grand epic apotheoses painted his father.

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) ^[2]