The full-length treatment in English of Tiepolo's life and career. Examining in detail the genesis and the achievement of Tiepolo's major accomplishments, and presenting a rich array of illustrations-some never before reproduced - Michael Levey presents the evidence for a deeper understanding and enjoyment of the great Italian artist.
Giambattista Tiepolo (1696-1770) was the greatest Italian painter of the eighteenth century, best known for his monumental frescoes and epic altarpieces. The scale of these paintings is immense, even overpowering. Yet some of Tiepolo's finest work can be found in the small oil sketches that he often made in preparation for these grand commissions. Published to coincide with an exhibition at the J. Paul Getty Museum, Giambattista Tiepolo: Fifteen Oil Sketches brings together a group of the artist's oil sketches from the Courtauld Institute in London that spans his entire career and reveals the amazing confidence and fluidity with which he created these paintings. The unusual intimacy of these preparatory sketches-made directly on the canvas with no preliminary underdrawing-reveals a great artist's vigorous imagination at work. The exhibit will run from May 3, 2005, to September 4, 2005. An introductory essay situates these works within the context of eighteenth-century art and Tiepolo's life and career.
Majismo, a cultural phenomenon that embodied the popular aesthetic in Spain from the second half of the eighteenth century, served as a vehicle to “regain” Spanish heritage. As expressed in visual representations of popular types participating in traditional customs and wearing garments viewed as historically Spanish, majismo conferred on Spanish “citizens” the pictorial ideal of a shared national character. In Framing Majismo, Tara Zanardi explores nobles’ fascination with and appropriation of the practices and types associated with majismo, as well as how this connection cultivated the formation of an elite Spanish identity in the late 1700s and aided the Bourbons’ objective to fashion themselves as the legitimate rulers of Spain. In particular, the book considers artistic and literary representations of the majo and the maja, purportedly native types who embodied and performed uniquely Spanish characteristics. Such visual examples of majismo emerge as critical and contentious sites for navigating eighteenth-century conceptions of gender, national character, and noble identity. Zanardi also examines how these bodies were contrasted with those regarded as “foreign,” finding that “foreign” and “national” bodies were frequently described and depicted in similar ways. She isolates and uncovers the nuances of bodily representation, ultimately showing how the body and the emergent nation were mutually constructed at a critical historical moment for both.
Published in conjunction with an exhibit which opened in Venice in 1996 and at the Metropolitan Museum of Art in New York during the first part of 1997. The exhibit organizers aimed to show Tiepolo as one of the presiding geniuses of the European imagination. In essays and entries on every work shown, the text illuminates his formation; his mastery of mythological and poetic subjects; his religious pictures; his excursions into portraiture and studies of ideal heads; and the process by which he proceeded from initial ideas--small- scale sketches--to large canvases and frescoes. Beautifully produced, the volume makes a stunning impact, and will have to suffice for those who can't make it to the exhibit itself. Distributed by Abrams. 10x12"Annotation copyrighted by Book News, Inc., Portland, OR
The eighteenth-century Venetian painter Giambattista Tiepolo spent his life executing commissions in churches, palaces, and villas, often covering vast ceilings like those at the Würzburg Residenz in Germany and the Royal Palace in Madrid with frescoes that are among the glories of Western art. The life of an epoch swirled around him - but though his contemporaries appreciated and admired him, they failed to understand him. Few have even attempted to tackle Tiepolo's series of thirty-three bizarre and haunting etchings, the Capricci and the Scherzi, but Roberto Calasso rises to the challenge, interpreting these etchings as chapters in a dark narrative that contains the secret of Tiepolo's art. Blooming ephebes, female satyrs, Oriental sages, owls, snakes: we will find them all, including Punchinello and Death, within the pages of this book, along with Venus, Time, Moses, numerous angels, Cleopatra and Beatrice of Burgundy - a motley, gypsyish company always on the go. Calasso makes clear that Tiepolo was more than a dazzling intermezzo in the history of painting. Rather, he represented a particular way of meeting the challenge of form: endowed with a fluid, seemingly effortless style, Tiepolo was the last incarnation of that peculiar Italian virtue sprezzatura, the art of not seeming artful.
"Published to complement an exhibition at the British Museum, this book highlights the Museum's outstanding collection of Spanish prints and drawings"--Jkt.
Unprecedented in its range - extending from Venice to the New World and from the Holy Roman Empire to the Ottoman Empire - this collection probes the place that the Ottoman Turks occupied in the Western imaginaire, and the ways in which this occupation expressed itself in the visual arts. Individual essays in this volume examine specific images or groups of images, problematizing the 'truths' they present and analyzing the contexts that shape the presentation of Ottoman or Islamic subject matter in European art. The contributors trace the transmission of early modern images and representations across national boundaries and across centuries to show how, through processes of translation that often involved multiple stages, the figure of the Turk (and by extension that of the Muslim) underwent a multiplicity of interpretations that reflect and reveal Western needs, anxieties and agendas. The essays reveal how anachronisms and inaccuracies mingled with careful detail to produce a "Turk," a figure which became a presence to reckon with in painting, sculpture, tapestry and printmaking.
From Canaletto to Tiepolo, eighteenth century Venetian painters created brilliant works of art that are now considered to be the last flowering of the long Venetian tradition of painting. This beautiful book provides an introduction to eighteenth century Venetian painting, discussing the various types of painting--portraiture, genre, landscape, history paintings and religious works--as well as the society, patronage and intellectual climate of Venice at this time.
The exhibition reunites surviving preparatory drawings and paintings, as well as documentary photos, for an extraordinary lost fresco cycle by the Venetian painter Giambattista Tiepolo (1696-1770). The frescos were painted for Palazzo Archinto in Milan and destroyed in a bombing of the city during World War II.