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Carnival Scene or the Minuet (mk05)
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Carnival_Scene_or_the_Minuet_(mk05)
Canvas 32 x 43 1/2''(81 x 111 cm)Pendant to The Tooth Puller Collection of Count Algarotti,Venice 1779;Beaqueathed in 1938
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Rebecca at the Well (mk05)
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Rebecca_at_the_Well_(mk05)
Canvas 33 x 41''(84 x 105 cm)Given by the Comtesse Bismarck in 1975;entered the Permanent collection in 1981 R.F
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Presenting Christ to the People (Ecce Homo) (mk05)
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Presenting_Christ_to_the_People_(Ecce_Homo)_(mk05)
Canvas 26 x 17''(66 x 43 cm)Given in 1949;entered the Louvre in 1974
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Christ with the Woman Taken in Adultery (mk05)
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Christ_with_the_Woman_Taken_in_Adultery_(mk05)
Canvas 44 x 70 1/2''(112 x 179 cm)Bequeathed in 1961;entered the Louvre in 1977 R.F
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The Tooth Puller (mk05)
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The_Tooth_Puller_(mk05)
1754
Canvas 32 x 43 1/4''(81 x 110 cm)Pendant to Carnival Scene or the Minuet Collection of Count Algarotti in Venice 1779;bequeathed in 1938 R.F
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Giovanni_Battista_Tiepolo
Italian Rococo Era Painter, 1696-1770
Giovanni Battista Tiepolo was born in Venice on March 5, 1696. His father, who was part owner of a ship, died when Tiepolo was scarcely a year old, but the family was left in comfortable circumstances. As a youth, he was apprenticed to Gregorio Lazzarini, a mediocre but fashionable painter known for his elaborately theatrical, rather grandiose compositions.
Tiepolo soon evolved a more spirited style of his own. By the time he was 20, he had exhibited his work independently, and won plaudits, at an exhibition held at the church of S. Rocco. The next year he became a member of the Fraglia, or painters guild. In 1719 he married Cecilia Guardi, whose brother Francesco was to become famous as a painter of the Venetian scene. They had nine children, among them Giovanni Domenico and Lorenzo Baldassare, who were also painters.
In the 1720s Tiepolo carried out many large-scale commissions on the northern Italian mainland. Of these the most important is the cycle of Old Testament scenes done for the patriarch of Aquileia, Daniele Dolfin, in the new Archbishop Palace at Udine. Here Tiepolo abandoned the dark hues that had characterized his early style and turned instead to the bright, sparkling colors that were to make him famous.
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