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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 was once 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 by way of the Bellini, the Vivarini, and the Lombardo kin of sculptors and designers, and perpetuated into the 16th century by means of Carpaccio, Tintoretto,
Veronese, and Jacopo Bassano, all of whom collaborated with offspring of commonly divergent skills. one other relations
Read 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
Often they playfully and peacefully interact (fig. 76), but in some of the drawings the bestial nature of the centaurs is allowed to go unbridled (fig. 77). Hunting and warfare are primary occupations of the centaurs, signaled by the weapons they carry in many of the compositions, while the satyrs engage in Satyrs and centaurs provided Domenico with subjects for one of his most engaging large series of drawings. Satyrs, satyresses, and their faun offspring had long been part of Giambattista's repertoire, appearing in an early group of paintings (Horne Museum, Florence) and in three of the Scherzi (see fig.
297)( \ '1/ v ' - . ' I r 11.. v- *39* The Museum's oil sketch of Virtue and Nobility (fig. 59), possibly a study for a ceiling decoration (fig. 60) in the Palazzo Caragiani, Venice, painted some twenty years after Domenico's return from Madrid (ca. I790-95), or for some other late work, again shows his staunch adherence to his father's style, here in a secular mode. The disposition of the figures and the allegorical subject relate closely to a number of variations on the theme of Fortitude and Wisdom painted by Giambattista in the I740s, particularly a ceiling decoration from the Palazzo Manin, Venice (now in the Contini-Bonacossi Collection, Florence, it was reproduced by Domenico in an etching [fig.
6 cm). Signed in pen and brown ink, bottom center: Dom? Tiepolof. 5) right 75 * GIAMBATTISTA TIEPOLO Scherzi di Fantasia: A Satyr Family. Etching, 8 7/ x 7 in. 7 cm). Purchase, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, Dodge and Pfeiffer Funds, and Joseph Pulitzer Bequest; and Gift of Bertina Suida Manning and Robert *50 * L. 2) - .. 'o? IV %-, Ad '<, 76 * Satyr Leading a CentauressWho Holds a Satyr Child, after I770. Pen and darkbrown ink, dark brown wash; 71/2x 0 3/4 in. 3 cm).