Lecture13Part2

Lecture13Part2 - The Tiepolos: The Eighteenth­Century...

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Unformatted text preview: The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Giambattista Tiepolo, The Apotheosis of the Pisani Family, Ceiling fresco from the Villa Pisani, Stra, 1761­1762 Venice in the 18th century: political decline, but artistic heyday Great demand for decorative, luxurious, yet airy ceiling paintings by wealthy patricians The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Giambattista Tiepolo and his two sons corner the market for illusionistic ceiling decorations for palaces in Venice Particularly in demand: frescoes that celebrate the virtues and accomplishments of the family owning the palazzo Pisano family: rich Venetian patricians, politically influential Commissioned the fresco for their palace on the Venetian mainland in Stra The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Giambattista Tiepolo and sons, Grand Staircase with Apollo and the Four Continents, Residence Palace, Würzburg, 1750­ 1752, ceiling fresco The art of the Tiepolos in demand not only in Venice, but across Europe, especially in Germany The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting In 1750 Giambattista and his two sons set out to Germany complete their biggest commission ever Patron: a local ruler, the Prince­Bishop Karl Philipp von Greiffenklau Wants magnificent ceiling for his recently completed Residenz (palace) in Würzburg The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Center of the composition: Sun god Apollo rising to the skies, surrounded by a halo of sun rays Apollo=von Greiffenklau Inspired ultimately by Louis XIV and Versailles Von Greiffenklau imitates the French “Sun King” Louis XIV (aspires to similar divine status) The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Corners of the ceiling with Apollo in the center: Allegorical representations of the four continents Here: “America” Represented by native Americans The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Africa with camels as attributes of the continent; rich costumes The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Asia with elephants, turbans The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Europe as center of learning and the culture of classical antiquity The Tiepolos: The Eighteenth­Century Venetian Ceiling Painting Giandomenico Tiepolo, Il mondo nuovo, c. 1791, fresco Son of Giandomenico Painted the fresco for his own home, the Villa Zanigo at Mirano, near Venice The Tiepolos: The Tiepolos: Eighteenth­Century Venetian Ceiling Painting Iconography enigmatic: crowd of curious men and women turning their backs to the viewer Intensely fascinated by a peep show spectacle inside the house­ shaped box in the center left; inside, the spectator would have beheld views of the New World (the Americas, or other far­away places), hence the Italian name Mondo nuovo for peep show (in English also: diorama, related to camera obscura, precursor of photography, movies) Canaletto: Canaletto Venetian Vedute Painting Antonio Canaletto, Basin of San Marco from San Giorgio Maggiore, c. 1740, oil o/canvas Venetian artist with a different specialty: Vedute or panoramic city views of Venice Context: rise of tourism Canaletto: Canaletto Venetian Vedute Painting Well­to­do members of the Northern European (especially British) nobility go on “Grand Tour” across Italy to see cultural landmarks Take along vedute pictures (paintings orless expensive Canaletto prints) as souvenirs to Britain or U.S. Trade arranged through British Council Smith (diplomat) Commercially very successful Canaletto: Canaletto Venetian Vedute Painting Only one Canaletto painting left in Venice Here: view across the lagoon from San Giorgio Maggiore on the Piazza San Marco Boats, figures enhance picturesque aspect of scene Horizontal format typical for vedute pictures Canaletto: Canaletto Venetian Vedute Painting Antonio Canaletto, Piazza San Marco with the Basilica, oil o/canvas, 1730 Heart of the city of Venice with St. Marc’s Cathedral, campanile, and Doge’s Palace Central meeting place in the city Shops below galleries off to the left and right Architectural setting remains unchanged to the present day Canaletto: Canaletto Venetian Vedute Painting Antonio Canaletto, Grand Canal, the Rialto Bridge from the North, oil o/canvas, 1727 Another place of central importance in Venice Rialto Bridge: traditional center of commercial activity Emphasis on picturesque aspects with gondolas, canals Canaletto: Canaletto Venetian Vedute Painting Antonio Canaletto, London, Westminster Bridge from the North on Lord Mayor’s Day, oil o/canvas, 1746 1740s: business turns bad in Venice (wars on the Continent interrupts tourism) Canaletto follows his British clients to Britain Paints London in the same manner as he had painted Venice ...
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This note was uploaded on 02/08/2012 for the course AGRI 1001 taught by Professor Garrison during the Fall '08 term at LSU.

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