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An inspired art scarf, only at The Met. Bring the drama with this artful scarf featuring a fabulous tableau by the great Giovanni Battista Tiepolo (Italian, 1696-1770). Regarded as the first master of the Grand Manner-a style of painting then celebrated for its idealized, often Classical motifs-Tiepolo was arguably the most outstanding painter of 18th-century Europe. Allegory of the Planets and Continents (1752) ranks among his largest and most dazzling oil sketches, in which a radiant Apollo, the god of light, is set to launch on his daily course across the sky. The deities around Apollo symbolize the planets, while the allegorical figures on the cornice represent the "four continents," which included Europe, Africa, Asia, and America at the time. Tiepolo presented this preliminary sketch to the prince-bishop of Würzburg as his proposal for a palace fresco. The finished work is often considered Tiepolo's greatest achievement. Click

Giambattista Tiepolo's work defined the rococo period in Italy. His lush paintings, which were characterized by a light palette and loose brushwork, were favored by kings and queens and nobility throughout Italy, Germany, and Austria. This copiously illustrated volume collects his entire body of painting.Tiepolo's work can be found in the Metropolitan Museum of Art, New York; Los Angeles County Museum of Art; Art Institute of Chicago; Philadelphia Museum of Art; Museum of Fine Arts, Boston; Isabella Stewart Gardener Museum, Boston; Detroit Institute of the Arts; Cincinnati Art Museum; Minneapolis Institute of Art; National Gallery, Washington, D.C.; Walters Art Gallery, Baltimore and the Cleveland Art Museum.

This study by two brilliant and eminently readable art historians looks at Tiepolo`s works as an example of the specifically pictorial as distinguished from the verbal intelligence. Alpers and Baxandall show that Tiepolo`s greatness lies not in stories told, or in meanings pursued, but in the use of his visual medium-drawing, painting, and natural lighting. They conclude with a study of his best and biggest painting, The Four Continents at Wrzburg, newly photographed for this book. The book ends with an annotated gazetteer for travellers, listing those Tiepolo paintings that can still be seen in the places and conditions for which he painted them.

Giambattista Tiepolo's work defined the rococo period in Italy. His lush paintings, which were characterized by a light palette and loose brushwork, were favored by kings and queens and nobility throughout Italy, Germany, and Austria. This copiously illustrated volume collects his entire body of painting.Tiepolo's work can be found in the Metropolitan Museum of Art, New York; Los Angeles County Museum of Art; Art Institute of Chicago; Philadelphia Museum of Art; Museum of Fine Arts, Boston; Isabella Stewart Gardener Museum, Boston; Detroit Institute of the Arts; Cincinnati Art Museum; Minneapolis Institute of Art; National Gallery, Washington, D.C.; Walters Art Gallery, Baltimore and the Cleveland Art Museum.

On 12 December 1750 the Venetian painter Giambattista Tiepolo arrived in Wurzburg, capital of the small German principality of Franconia. Its ruler, Prince-Bishop Carl Philipp von Greiffenclau, had commissioned him to decorate the Kaisersaal, one of the state rooms in his palace, the Residenz. Later extended to include the decoration of the Residenz's staircase, the commission resulted in a series of frescos that are numbered among the greatest glories of Baroque painting.Created by the last major representative of the Venetian tradition in painting, the frescos in the Wurzburg Residenz are a truly epochal work of art. They form the culmination of a venerable tradition of fresco decoration initiated by Giotto over four hundred years earlier and, in their marriage of mythological and historical subject-matter, constitute a monument to the dying age of absolutism. In his highly readable text Peter O. Kruckmann tells the story of how Tiepolo came to receive the commission, explores in detail the thematic and artistic intricacies of the frescos, and documents their genesis as a continuous process, from the preliminary sketches to the finished works. In examining the relationship between the painted decoration and the architecture of the Residenz, he sheds new light on the place of the frescos in the complex ceremonial rituals of provincial court.During his three-year stay in Wurzburg, Tiepolo, and his son Giandomenico, produced a number of oil paintings for the Prince-Bishop and other German patrons. These works, too, are discussed in this lavishly illustrated volume, which provides layman and expert alike with an informative and visually exciting survey of the masterpieces created in Wurzburg by the man who was probably the greatest painter of the eighteenth century.

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 them 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, as well as Punchinello and Death, within the pages of this book, along with Venus, Time, Moses, numerous angels, Cleopatra, and Beatrice of Burgundy—a motley 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.

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Tiepolo is a brilliant example of the specifically pictorial intelligence. This book is both a study of his art and an argument for fuller recognition of the peculiarities of the painter's representational medium.Alpers and Baxandall locate distinctive modes of Tiepolo's representation of the world and human action; follow his process of invention from first pen drawings, through small oil sketches, to great frescoes; and analyse his best and biggest painting, the Four Continents in the Stairway Hall of the Prince-Bishop's Residence at Wurzburg, illustrated with photographs specially taken for the book.The topics taken up include: painting's resistance to enacted narrative drama, its engagement with indeterminacies and repetitions, the senses in which a painter may 'perform' both past art and himself, the constructive roles of gestural drawing, exploitation of shifts of scale between design and finished work, dialogue between the changing natural site lighting and in-picture lighting, contributions made by the beholder's own mobility, the expressive scope of tensions between two and three dimensions, the deep rationale of rococo formal structure, and the sources of the moral force of pictures without an explicit moral.The book - both art criticism and a practical polemic - ends with an annotated gazetteer for travellers, listing those Tiepolo paintings that can still be seen in the places and conditions for which he painted them.

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44 of the finest drawings by the 18th-century Italian master Giovanni Battista Tiepolo. They include Time and Truth, Apollo and Bacchus, St. Paul and Virgin Mary, more. Each plate has a caption.

From the Nobel laureate, a book-length poem on two educations in painting, a century apart"Between me and Venice the thigh of a hound;my awe of the ordinary, because even as I write,paused on a step of this couplet, I have never foundits image again, a hound in astounding light."Tiepolo's Hound joins the quests of two Caribbean men: Camille Pissarro--a Sephardic Jew born in 1830 who leaves his native St. Thomas to follow his vocation as a painter in Paris--and the poet himself, who longs to rediscover a detail--"a slash of pink on the inner thigh / of a white hound"--of a Venetian painting encountered on an early visit from St. Lucia to New York. Both journeys take us through a Europe of the mind's eye, in search of a connection between the lost, actual landscape of a childhood and the mythical landscape of empire.Published with twenty-five full-color reproductions of Derek Walcott's own paintings, the poem is at once the spiritual biography of a great artist in self-imposed exile, a history in verse of Impressionist painting, and a memoir of the poet's desire to catch the visual world in more than words.

From the Nobel laureate, a book-length poem on two educations in painting, a century apart"Between me and Venice the thigh of a hound;my awe of the ordinary, because even as I write,paused on a step of this couplet, I have never foundits image again, a hound in astounding light."Tiepolo's Hound joins the quests of two Caribbean men: Camille Pissarro--a Sephardic Jew born in 1830 who leaves his native St. Thomas to follow his vocation as a painter in Paris--and the poet himself, who longs to rediscover a detail--"a slash of pink on the inner thigh / of a white hound"--of a Venetian painting encountered on an early visit from St. Lucia to New York. Both journeys take us through a Europe of the mind's eye, in search of a connection between the lost, actual landscape of a childhood and the mythical landscape of empire.Published with twenty-five full-color reproductions of Derek Walcott's own paintings, the poem is at once the spiritual biography of a great artist in self-imposed exile, a history in verse of Impressionist painting, and a memoir of the poet's desire to catch the visual world in more than words.

From the Nobel laureate, a "resplently luminous" (Paul Gray, Time) book-length poem on two educations in painting, a century apart.Between me and Venice the thigh of a hound;my awe of the ordinary, because even as I write,paused on a step of this couplet, I have never foundits image again, a hound in astounding light.Tiepolo's Hound joins the quests of two Caribbean men. Camille Pissarro, born in 1830, leaves his native St. Thomas to follow his vocation as a painter in Paris. The poet himself hunts for a detail -- "a slash of pink on the inner thigh/of a white hound" -- of a Venetian painting encountered on an early visit from St. Lucia to New York. Both journeys take us through a Europe of the mind's eye, in search of a connection between the lost, actual landscape of a childhood and the mythical landscape of empire. Published with twenty-six of Derek Walcott's own paintings, the poem is at once the spiritual biography of a great artist in self-exile, a history in verse of Impressionist painting, and a memoir of the poet's desire to catch the visual world in more than words.

From the Nobel laureate, a book-length poem on two educations in painting, a century apart"Between me and Venice the thigh of a hound;my awe of the ordinary, because even as I write,paused on a step of this couplet, I have never foundits image again, a hound in astounding light."Tiepolo's Hound joins the quests of two Caribbean men: Camille Pissarro--a Sephardic Jew born in 1830 who leaves his native St. Thomas to follow his vocation as a painter in Paris--and the poet himself, who longs to rediscover a detail--"a slash of pink on the inner thigh / of a white hound"--of a Venetian painting encountered on an early visit from St. Lucia to New York. Both journeys take us through a Europe of the mind's eye, in search of a connection between the lost, actual landscape of a childhood and the mythical landscape of empire.Published with twenty-five full-color reproductions of Derek Walcott's own paintings, the poem is at once the spiritual biography of a great artist in self-imposed exile, a history in verse of Impressionist painting, and a memoir of the poet's desire to catch the visual world in more than words.

This book is a panoramic view of the richest 300 years of Italian art: the fifteenth, sixteenth and seventeenth centuries, which saw the creation of a constellation of masterpieces of painting and sculpture that has influenced art history for generations. The 1500s saw the era of the great Renaissance masters da Vinci, Raphael, and Michelangelo, as well as the innovators of the mannerist style, del Sarto and Pontormo, and brilliant painters from the Venetian school including Giorgione, Titian, and Lotto. The northern artistic schools arose in the 1600s, led by Carracci, Reni, Guercino, and Domenichino. Included here are works by the revolutionary Caravaggio. Papal Rome is well represented by Bernini and Pietro da Cortona.The 1700s feature landscape artists including Canaletto, Bellotto, and Guardi, and from the Rococò period, Tiepolo and Gandolfi with sculptures by Canova and Giani.

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 fullest possible evidence for a deeper understanding and enjoyment of the great Italian artist.

Published to coincide with an exhibition in Venice and New York to celebrate the 300th anniversary of the birth of Italian 18th-century painter, Giambattista Tiepolo, this study explores the various aspects of his work. Essays by eight American and European authorities illuminate his development: his mastery of mythological and poetic subjects; his deeply moving religious pictures; and his rare excursions into portraiture and studies of the ideal head. It also describes a prominent feature of Tiepolo's work; his method of progression from initial ideas - realized in dazzling small-scale oil sketches - to large canvases and frescoes. Written for the scholar and general reader alike, the text is supported by illustrations of Tiepolo's works and those of his predecessors and contemporaries.

Domenico Tiepolo studied under his famous father, Giovanni Battista Tiepolo. His tour de force, done at the end of lifeprobably for his own pleasureis this series of 104 drawings depicting the life and adventures of the popular commedia dell'arte character, Punchinello. In 1921 the set was sold and dispersed. Through the efforts of Gealt and the publisher, 77 of the drawings were tracked down and are reproduced in exquisite facsimile. The rest are in black and white. Domenico's iconography is often enigmatic, at odds with the conventional Punch scenario. One astonishing drawing is of a Punchinello firing squad executing three Punchinello prisoners; it anticipates Goya's Third of May, 1808 . A wonderful album, highly recommended for all art collections. Eleanor Riley, Getty Conservation Inst. Lib., Marina del Rey, Cal.

Tiepolo was a decorative artist in the 18th century, this prize-winning volume provides a cogent and sympathetic analysis of Tiepolo, tracing the development of the painters career and art in the context of his times, and emphasizing his essentially Venetian qualities.