English Français Deutsch Italiano Español Русский 中国 Português 日本

FAVORITES MY CART

Get Art Reproductions , 1755 by Giandomenico Tiepolo (1727-1804) | ArtsDot.com

Zoom inZoom inZoom inZoom in
Zoom outZoom outZoom outZoom out
Go homeGo homeGo homeGo home
Toggle full pageToggle full pageToggle full pageToggle full page
Unable to open [object Object]: Error loading image at /ADC/Art.nsf/O/AQR3XQ/$File/Giandomenico-Tiepolo-.jpg
From just 49 USD From just 149 USD
The artwork by Giandomenico Tiepolo, created in 1755, is a stunning example of 18th-century Italian art. This oil on canvas painting is currently displayed at the Honolulu Museum of Art and showcases the artist's exceptional skill and attention to detail.

Artwork Details

The painting depicts an older man with a long white beard, wearing a gold hat and a robe. His facial expression appears stern or serious, adding to the overall sense of gravitas in the artwork. In the background, two other figures are partially visible, one on either side of the main subject. The use of oil on canvas allows for a depth and richness of color that is characteristic of Giandomenico Tiepolo's work.

Meaning and Significance

The painting's meaning and significance can be interpreted in various ways. Some art historians believe that the subject may represent a philosopher or a wise man, given his introspective expression and attire. The artwork may also be seen as a commentary on the social hierarchy of the time, with the main figure representing a person of importance or authority. Key aspects of the painting include its use of color, composition, and symbolism. The artist's masterful use of light and shadow adds depth and dimension to the artwork, while the subtle expressions of the subjects invite the viewer to ponder their emotions and intentions.
  • The painting is a prime example of Giandomenico Tiepolo's skill in capturing the subtleties of human emotion.
  • The artwork's composition and use of color demonstrate the artist's understanding of balance and harmony.
  • The painting's significance extends beyond its aesthetic value, offering insights into the social and cultural context of 18th-century Italy.
For more information on Giandomenico Tiepolo and his artwork, visit https://ArtsDot.com/@@/AQR3XQ-Giandomenico-Tiepolo-. To learn more about the Honolulu Museum of Art, visit their website or check out https://en.wikipedia.org/wiki/Honolulu_Museum_of_Art.
The painting by Giandomenico Tiepolo is a testament to the artist's skill and craftsmanship, offering a glimpse into the world of 18th-century Italian art. As a masterpiece of oil on canvas, it continues to inspire and captivate audiences today.
Open full description

Giandomenico Tiepolo

Giovanni Domenico Tiepolo was an Italian painter and printmaker in etching. He was the son of artist Giovanni Battista Tiepolo and elder brother of Lorenzo Baldissera Tiepolo.
Domenico was born in Venice, studied under his father, and by the age of 13 was the chief assistant to him. He was one of the many assistants, including Lorenzo, who transferred the designs of his father (executed in the 'oil sketch' invented by the same). By the age of 20, he was producing his own work for commissioners.
He assisted his father in Würzburg 1751-3, decorating the famous stairwell fresco, in Vicenza at the Villa Valmarana in 1757, and in Madrid at the palace of Charles III from 1762-70.
The Saints of the family Crotta, 1750, Städelsches Kunstinstitut
The chastity of Scipio, 1751, Städelsches Kunstinstitut
Study head of an old man, 1756, Städelsches Kunstinstitut
Pulcinellas Father Brings Home His Bride, 1797, Städelsches Kunstinstitut
Sketch for St. Leo in Glory, for the ceiling of the Church of San Lio, Venice.
Ceiling of the Church of San Lio, Venice.
St. Ambrose Addressing the Young St. Augustine.
Punchinello with the Ostriches.
Detail :The quack or tooth puller,1754.
Karnevalscene. Pulcinellas triumf
Greyhound, painted for Villa Tiepolo, Zianigo, now at Ca'Rezzonico, Venice
Dedication Page from "27 Etchings on The Flight to Egypt."
His painting style developed after the death of his father in 1770, at which time he returned to Venice, and worked there as well as in Genoa and Padua. His painting, though keeping the decorative influence of his father, moved from its spatial fancy and began to take a more realistic depiction. His portraits and scenes of life in Venice are characterised by movement, colour, and deliberate composition.
After a lapse of 15 years, his work developed from the religious and mythological subjects of his father to a more secular style. He produced 104 sketches of Punchinello, the standard character of the commedia dell'arte (which would later become Punch in Punch and Judy), a physically deformed clown. These were created as 'Entertainments for the Children', and attempted to poke fun at the pretensions and behaviour of the viewer.
The same protagonist featured in frescos (1759-1797) in his villa di Zianigo near Mirano. These frescoes were detached and nearly sold to be sold in France, but the then Minister of Public Education, blocked the export and acquired them for the city of Venice. Since 1936, they have been on display, in a near replica of the original arrangement, in the Ca Rezzonico Museum on the Grand Canal. The frescoes have undergone recent restoration. The scenes depict often cryptic events, part genre and part epic-farce, of crowds of Pulcinellos at play and work, as well as a carnival scene. The genre thematic and humor are strikingly different from the grand epic apotheoses painted his father.
Many of Domenico's works are drawings with ink wash, and he was a fine draftsman, although weaker than his father. His St. Ambrose Addressing the Young St. Augustine sketch is typical of the commissions he would receive. St. Ambrose, with the crozier and mitre, addresses and gives religious instruction to the beardless Saint Augustine. The composition has the pomp and grandiosity of his father's work, set out as if part of a theatrical display. He, however, takes 18th-century Venice as the setting for this 4th-century act, drawing on his experience of the city and his many works depicting life in it.
Domenico was also a significant printmaker in etching, often reproducing his own or his father's paintings. Nevertheless, he produced an original series of twenty illustrations of the Flight into Egypt, and one of the fourteen Stations of the Cross.
The Art Gallery of New South Wales (Sydney, Australia), the Blanton Museum of Art (University of Texas, Austin), the Cleveland Museum of Art, the Finnish National Gallery, the Honolulu Museum of Art, the Indiana University Art Museum, Kunst Indeks Danmark, the Minneapolis Institute of Arts, the Musée des Beaux-Arts de Caen, the Musée des Beaux-Arts de Strasbourg, the Musée du Louvre (Paris), Thyssen-Bornemisza Museum (Madrid), Museu Nacional d'Art de Catalunya (Barcelona), the National Gallery, London, the National Museums and Galleries of Wales, the Philadelphia Museum of Art, Pinacoteca Ambrosiana (Milan), Pinacoteca di Brera (Milan), the Portland Art Museum, the Royal Museums of Fine Arts of Belgium, the Seattle Art Museum, the Los Angeles County Museum of Art, the Victoria and Albert Museum and the Wadsworth Atheneum are among the public collections holding paintings by Giovanni Domenico Tiepolo.
Contadini e signori in villa Valmarana exhibition by Primo Casalini.

More...

-