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By Joan Holt, Linda Wolk-Simon, Philippe de Montebello
Born in Venice on August 30, I727, Giovanni Domenico Maria Antonio Tiepolo used to be baptized at the 10th of September within the parish church of San Ternita (Santissima Trinita). The 5th baby and eldest surviving son of Giambattista Tiepolo and his spouse, Cecilia Guardi, sister of the painters Gianantonio and Francesco Guardi, Domenico used to be named for his maternal and paternal grandfathers, Domenico Tiepolo and Domenico Guardi. In becoming a member of his fathers enterprise (as his more youthful brother Lorenzo used to be later to do), he the long-standing Venetian culture of the familyworkshop, practiced within the 15th century through the Bellini, the Vivarini, and the Lombardo relatives of sculptors and designers, and perpetuated into the 16th century through Carpaccio, Tintoretto,
Veronese, and Jacopo Bassano, all of whom collaborated with offspring of commonly divergent skills. one other relatives
Read Online or Download Domenico Tiepolo Drawings, Prints, and Paintings in The Metropolitan Museum of Art The Metropolitan Museum of Art Bulletin PDF
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Additional info for Domenico Tiepolo Drawings, Prints, and Paintings in The Metropolitan Museum of Art The Metropolitan Museum of Art Bulletin
Sample text
In some of the drawingsa Moorishgroom is present (fig. 79); andthe horses, describedby ByamShawas "heavyin neck and shoulder, but with a smallhead and absurdlylong, stiff forelegs," are of a distinctlyArabtype. 79 * An Oriental Chieftain Resting, after 1770. Pen and brown ink, pale brown wash, over black chalk; 7% x Io% in. 8 cm). Signed in pen and brown ink, lower right: Dom? Tie (the rest cut away). , partly cut away). I) 80 * Oriental Lancer Approaching a Town, after 1770. Pen and brown ink, pale brown wash, over traces of black chalk.
R workwas judged old-fashioned,and its obscure allegory and facile perspectivewere singled out for harsh criticism. Avictim of neglect, the fresco was allowedto fall into an irretrievablestate of disrepairandwas finallydestroyedin i866, less than a century after its creation. Notwithstandinga handfulof importantpublic commissions of his later career,such as the Genoa ceiling and the GloryofPope Leo IX(I783) in San Lio, Venice, the publication of the collected prints, and a term as president of the VenetianAcademy(1880-83), Domenico Tiepolo became an increasinglyprivate artist in the last decades of his life.
Domenico's own efforts in this genre are similarin spirit and remarkablyclose in style to Giambattista's(fig. 9I). " Caricature of a Gendeman and Other Studies. Pen and brown ink, brown wash, over black chalk; 10 %x 7 V4in. 5 cm). Signed in pen andbrown ink, lower right: Dom? Tiepolof. 68) journalist GaspareGozzi ridiculed hats resemblingbaskets of cabbages, an accessorythat frequentlymakes an appearance in Domenico's ContemporaryLife drawings(fig. 90) and in the frescoes in the villa at Zianigo.