Word: tiepolo
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...Guardi brothers turned out thousands of panoramic Venetian views whose impeccable architecture and exquisite plays of light have since delighted generations, while Pietro Longhi mastered a mellow irony to reveal the domestic texture of Venetian life. But it remained for an extraordinarily forceful young artist named Giovanni Battista Tiepolo to ascend that decaying stage and transform shimmer and shadow into one last dramatic moment for Venetian painting...
Heaven Itself. This week Tiepolo's deft, dramatic touch is revealed in a new dimension. For the first time in a century, three huge masterworks of Tiepolo's youth, recently acquired by Manhattan's Metropolitan Museum, are being put on exhibition. Part of a ten-work cycle portraying scenes from Roman history,*they were painted for the Ca' Dolfin in Venice some time be tween 1725 and 1730, when Tiepolo was barely 30 years old. Standing between the gloomy realism of his earliest canvases and the lyrical idealism that made his later ceilings look like heaven...
...Tiepolo was early marked for greatness. At 14, he was sent to study in the studio of the prolific Venetian genre painter Gregorio Lazzarini, but soon broke away to study on his own the works of the Renaissance's Paolo Vero nese. By the time he was 21, he had become a full-fledged member of the local painters' fraternity, by 23 he had married Cecilia Guardi, sister of the painting Guardis, and by 26 held the highly important post of "curator" of the Doge's art treasures. From then on, his reputation spread from northern Italy...
History & Drama. Venice remained his main proving ground. Though the paintings that Tiepolo is known to have done for the Doge have been lost, they led to a commission from the Archbishop of Udine, a member of the noble Venetian family of Dolfin, to execute the frescoes for the cathedral in Udine and paint the cycle for the Ca' Dolfin in Venice. Stylistically, Tiepolo was still feeling his way: his warm reds and yellows had not yet dissolved into the icy whites and blues that would dominate his later work; his vigorous brush had yet to master fully...
...collection of Islamic art lines a corridor that logically leads to a 14th century tiled mihrab (prayer niche), as magically multicolored as a Persian carpet. To show the effervescent character of baroque art, a huge, gilded 17th century harpsichord is placed against a wall of Tiepolo's levitating flights of linear fancy. And in the center of a room coated with Italian 16th century masters rests Benvenuto Cellini's great cup, a Renaissance fantasia 7½ in. high, in which a turtle and a dragon balance a seashell in gold, enamel and pearls...