Showing posts with label Tiepolo. Show all posts
Showing posts with label Tiepolo. Show all posts

30 August 2022

Giovanni Domenico Tiepolo – painter and printmaker

Famous artist’s son developed his own style

Many of Tiepolo's works, such as this carnival scene in Venice, featured the comic character Pulcinella
Many of Tiepolo's works, such as this carnival scene
in Venice, featured the comic character Pulcinella
Giovanni Domenico Tiepolo, who became famous for his paintings of Venetian life and of the clown, Pulcinella, was born on this day in 1727 in Venice.

Also known as Giandomenico Tiepolo, he was one of the nine children born to the artist Giovanni Battista Tiepolo and his wife, Maria Guardi, the sister of painters Francesco and Giovanni Guardi.

Perhaps not surprisingly, Giandomenico inherited the talent to go into the same profession as his father and uncles and, by the age of 13, he had become the elder Tiepolo’s chief assistant. His younger brother, Lorenzo, also became a painter and worked as an assistant to his father.

By the age of 20, Giandomenico was already producing his own work for commissions. However, he continued to accompany his father when he received his major commissions in Italy, Germany and Spain.

He assisted his father with a grand stairwell fresco for a prince’s palace in Wurzburg in Bavaria in 1750 and with decorations for the Villa Valmarana ai Nani in Vicenza in 1757 and the Royal Palace of Madrid in 1770.

The elder Tiepolo died while in Madrid and after Giandomenico returned to live in Venice, his own style of painting began to develop. His portraits and scenes of life in Venice were realistic and characterised by movement and his use of colour. He drew inspiration for his paintings from the lives of both peasants and aristocrats.

One of the panels from the Via Crucis cycle, in the Oratory of the Crucifix at San Polo
One of the panels from the Via Crucis cycle,
in the Oratory of the Crucifix at San Polo
Giandomenico also received many commissions for drawings and reproduced his own and his father’s paintings as etchings.

He produced more than 100 separate sketches of Pulcinella, a physically deformed clown who was the standard character of commedia dell’arte in Venice and later became the Punch in Punch and Judy. The sketches were created as entertainment for children, but also poked fun at the pretensions and behaviour of the viewers of Pulcinella’s shows.

He accepted commissions for religious paintings also. Many can be seen in the Chiesa di San Polo in Venice, including the 14 panels of his Via Crucis cycle, which can be seen in the adjacent Oratory of the Crucifix.

Frescoes that Giandomenico painted for the Tiepolo family villa at Zianigo near Mirano were removed from the walls of the building at the beginning of the last century and nearly sold to a French buyer, but the export of the paintings was blocked by an Italian Government minister. They were subsequently acquired by the city of Venice and put on display at Ca’ Rezzonico on the Grand Canal, in a replica of their original arrangement at the villa.  

The paintings were executed between 1759 and 1797 solely for the entertainment of Giandomenico and his family. The ones featuring Pulcinella were the last to be painted and are perhaps the most famous of the cycle. Giandomenico was said to have been obsessed by the commedia dell’arte character during the last years of his life and is thought to have used him in his paintings as a vehicle to reflect his own irreverent and sarcastic spirit.

Giandomenico Tiepolo died in Venice in 1804, aged 76.

The Villa Valmarana ai Nani in Vincenza, where Tiepolo and his father painted frescoes
The Villa Valmarana ai Nani in Vincenza, where
Tiepolo and his father painted frescoes
Travel tip:  

Villa Valmarana ai Nani was built in 1669 near the gates of the city of Vicenza. The villa takes its name from the 17 stone sculptures of nani, dwarves, that once decorated the garden and have now been placed on the walls surrounding the villa. It is believed they were sculpted by Francesco Uliaco based on drawings by Giandomenico Tiepolo. The villa is famous for the frescoes by Giambattista and Giandomenico Tiepolo in the palazzina, owner’s residence, which were commissioned by Giustino Valmarana in 1757. The present day Valmarana family still live in the villa.




Frescoes by Giandomenico Tiepolo on display at Ca' Rezzonico, the palace on the Grand Canal
Frescoes by Giandomenico Tiepolo on display
at Ca' Rezzonico, the palace on the Grand Canal
Travel tip:

Ca’ Rezzonico on the Grand Canal in Venice, which now houses Giandomenico Tiepolo’s frescoes on its second floor, was built in the 16th century to a design by the architect Baldassare Longhena. Before the building was complete the architect died and the unfinished construction was later bought by Giambattista Rezzonico, who commissioned Giorgio Massari to complete it. In the 19th century it was purchased by Pen Browning, the painter son of the poet, Robert Browning. The poet died there during a visit in 1889. The frescoes removed from Giandomenico’s villa went on display in Ca ‘Rezzonico in 1936. The palace is also now home to the Museum of 18th Century Venice.


Also on this day:

1580: The death of Emanuele Filiberto, Duke of Savoy

1585: The death of Venetian composer Andrea Gabrieli

1860: The birth of New York crime fighter Joe Petrosino


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3 May 2019

Francesco Algarotti - writer and art collector

Francesco Algarotti was a man of many talents with a colorful love life
Francesco Algarotti was a man of many talents
with a colorful love life

Philosopher and polymath with a playboy lifestyle


The multi-talented writer, philosopher and art connoisseur Francesco Algarotti, one of the most prominent and colourful individuals in 18th century intellectual society, died in this day in 1764 in Pisa.

Algarotti, who wrote many essays and a number of books, was something of a polymath in his breadth of knowledge on a wide number of subjects, including architecture and music as well as art. He was also a charismatic figure who became friends with most of the leading authors of his day, including Voltaire, Jean-Baptiste de Boyer, Marquis d'Argens and Pierre-Louis de Maupertuis.

His urbane manner and suave good looks, combined with his considerable intellect, led him to acquire admirers of both sexes. Indeed, at one time he is said to have found himself at the centre of a colourful bisexual love triangle involving John Hervey, the English peer and politician, and Lady Mary Wortley Montagu, the aristocratic travel writer, who became infatuated with Algarotti at the same time as Hervey, her one-time lover.

Algarotti was often engaged by the courts of European monarchs to acquire or commission paintings and other decorative artworks, or to advise on architectural projects, but also amassed a considerable collection of his own.  He commissioned works by Tiepolo, Pittoni, Piazzetta, Castiglione, Panini and Balestra among others, while helping to further the careers of Giuseppe Nogari, Bernardo Bellotto and Francesco Pavona.

Lady Mary Wortley Montagu is said to have become infatuated with Algarotti
Lady Mary Wortley Montagu is said to have
become infatuated with Algarotti
Giovanni Paolo Panini’s famous view of the interior of the Pantheon in Rome, painted in around 1734, was commissioned by Algarotti.

One painting thought to have been in his collection, Sebastiano Ricci’s Vision of St Bruno, sold at auction in the United States for $500,000 after turning up in a warehouse in Texas in 2008.

Algarotti was born in Venice in 1712. His father, a wealthy merchant, was an art collector and it was expected he would join his older brother, Bonomo, in the family business.

Instead, he went Rome to for a year, and then studied natural sciences and mathematics at Bologna and Florence. At age of 20, he went to Paris, where he became friendly with Voltaire and, in 1737, published Newtonianesimo per le dame, ovvero Dialoghi sopra la luce e i colori (Newtonianism for Ladies, or Dialogues on Light and Colour), a work on Newtonian optics, in which he had a particular expertise.

He spent time in London, where he met Lord Hervey, who would later become Lord Privy Seal in the government led by Robert Walpole. Hervey, who is known to have had many affairs with both men and women, was drawn towards his sophistication and physical attractiveness, but at the same time Algarotti attracted the attention of Lady Mary Wortley Montagu, who became so enamoured of him that she left her husband and proposed that they live together in Italy.

Algarotti's tomb, paid for by Frederick the Great, at Campo Santo in Pisa
Algarotti's tomb, paid for by Frederick
the Great, at Campo Santo in Pisa
The relationship came to nothing, however, after Algarotti received an invitation to go to Berlin from Frederick the Great of Prussia, and stayed there for more than nine years as court chamberlain.

A member of the Royal Society, Algarotti was popular in many European courts. Frederick the Great made him a Prussian count.  Augustus III of Poland also honored him with the title of Councillor.

In 1754, he returned to Italy, living in Bologna, Venice and then Pisa, where he died from tuberculosis ten years later at the age of 51. In his memory, Frederick the Great erected a monument to him on the Campo Santo in Pisa.

Algarotti's writings include several studies on classical themes and a series of treatises on language, opera, architecture, the poet Horace, painting and on influences on national character. He is credited with introducing the genre of essay-writing into Italy.

His 1745 book Il congresso di Citera, which was published in English as The Modern Art of Love, was a lighthearted comparison of English, French, and Italian attitudes toward love.

Panini's painting of the interior of  The Pantheon in Rome
Panini's painting of the interior of
The Pantheon in Rome
Travel tip:

The Pantheon in Piazza della Rotonda in Rome is considered to be Rome’s best preserved ancient building. It was built in AD 118 on the site of a previous building dating back to 27 BC. It was consecrated as a church in the seventh century and many important people are buried there, including Victor Emmanuel II, his son, Umberto I, and his wife, Queen Margherita.  It was as much a tourist attraction in Panini’s day as it is today and Panini manipulated the proportions and perspective to include more of the interior that is actually visible from any one vantage point.


The Campo Santo is part of the Piazza dei Miracoli complex, the most famous landmark of which is the Leaning Tower
The Campo Santo is part of the Piazza dei Miracoli complex,
the most famous landmark of which is the Leaning Tower
Travel tip:

The Campo Santo, also known as Camposanto Monumentale, is a huge oblong Gothic cloister at the northern edge of the Piazza dei Miracoli in Pisa. Designed by Giovanni di Simone, who began work on it in 1278, it was the fourth and final structure erected in the piazza, following the cathedral, the baptistery and the campanile - the leaning tower. It is thought the building was not meant to be a cemetery, but a church called Santissima Trinità (Most Holy Trinity), but the project changed during construction.  It is called Campo Santo, which literally means ‘holy field’, because it is said to have been built on sacred soil from Calvary, or Golgotha, the site outside the walls of Jerusalem where the Gospels say Christ was crucified, which had been brought back to Pisa from the Third Crusade by Ubaldo Lanfranchi, archbishop of Pisa.


More reading:

Panini's eye for capturing scenes of Rome

Tiepolo's legacy to Venice

How 18th century Venetian playwright Carlo Goldoni reinvigorated commedia dell'arte

Also on this day:

1461: The birth of patron of the arts Cardinal Raffaele Riario

1469: The birth of statesman and diplomat Niccolò Machiavelli

1815: Austria defeats Napoleon's troops at the Battle of Tolentino


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18 April 2019

Paolo Veronese – painter

Artist with a talent for using colour and painting people


Paolo Veronese: a self-portrait, reckoned to be painted between 1558 and 1563.
Paolo Veronese: a self-portrait, reckoned to
be painted between 1558 and 1563.
A leading figure of the 16th century Venetian school of painting, the artist Paolo Veronese died on this day in 1588 in Venice.

Veronese left a legacy of huge, colourful, paintings full of figures, which depicted allegorical, biblical or historical subjects. Much of his work remains in Venice to this day.

A dominant figure during the Renaissance, Veronese has continued to inspire and be appreciated by many of the great artists who came after him, in particular Rubens, Watteau, Tiepolo and Renoir.

Veronese was born in 1528, taking his grandfather’s surname of Caliari, but later adopting the surname Veronese, referencing his birthplace of Verona.

He began training as an artist at the age of 14 with Antonio Badile, whose daughter, Elena, he later married. One of his early works, Temptation of St Anthony, painted in 1552 for the Cathedral in Mantua, shows the influence of Michelangelo.

In 1553 he began working for the Venetian authorities on the decoration of the Palazzo Ducale. His skilful work on the ceiling of the Hall of the Council of Ten makes the figures appear to be actually floating in space above the viewer.

Veronese's painting, Wedding at Cana, full of figures and with beautiful colours, is one of his most famous works
Veronese's painting, Wedding at Cana, full of figures and
with beautiful colours, is one of his most famous works
His painting of a History of Esther for the ceiling of the Church of San Sebastiano in 1556 in Venice and his paintings for the ceiling of the Marciano Library in 1557 were awarded a prize, after being judged by Titian and Sansovino, establishing him as a master among his Venetian contemporaries.

Among his many triumphs are his decorations in the late 1550s for the Villa Barbaro in Maser, which was a newly-finished building by Andrea Palladio. These employed complex perspective and trompe l’oeil.

His famous work, Wedding at Cana, painted in 1562, was commissioned by the Benedictine monks for the San Giorgio Maggiore monastery across the lagoon from St Mark’s Square.   Veronese was contracted to cover 66 square metres and include as many figures as possible. The painting is now in the Louvre in Paris.

In 1573 Veronese completed his commission for his Feast in the House of Levi, although the painting for the rear wall of the refectory at the Basilica di Santi Giovannni e Paolo was intended to be a Last Supper.

Veronese's painting, The Feast in the House of Levi, was
originally commissioned as a Last Supper
Veronese’s banquet scene featured drunken German soldiers, dwarves and animals. The painting attracted the attention of the Inquisition who perceived it as heretical. The investigation later found there was no heresy, but the artist was ordered to change its title. Veronese chose The Feast in the House of Levi, which is still an episode from the Gospels, but one in which the Gospels specified "sinners" as being present.

In his biography of Veronese, Carlo Ridolfi said that The Feast in the House of Levi ‘gave reign to joy, made beauty majestic and made laughter, itself, more festive.’

In 1860, the art critic Theophile Gautier wrote that Veronese was ‘the greatest colourist who ever lived’.

Veronese died in Venice after contracting a fever in April 1588, when he was in his 60th year.  His brother and sons had him buried in the Church of San Sebastiano, which he had spent many years decorating, and they had a bust placed over his grave.

The Chiesa di San Sebastiano,
where Veronese painted for 15 years
Travel tip:

Veronese spent three periods between 1555 and 1570 decorating the interior of Chiesa di San Sebastiano in Venice. His last work for the church was the painting behind the high altar, Madonna in Glory with St Sebastian and other Saints, completed in 1570. Veronese’s tomb is to the left of the sanctuary. The church is in Campazzo San Sebastiano, a short walk from Ponte dell’Accademia, the Accademia bridge.

The entrance to the Gallerie dell'
Accademia, in Campo della Carità
Travel tip:

Veronese’s masterpiece, The Feast in the House of Levi, originally painted for the refectory at the Basilica di Santi Giovanni e Paolo, is now in Venice’s Gallerie dell’Accademia, an art gallery in Campo della Carita close to the Grand Canal, after which the wooden bridge, Ponte dell’Accademia is named.

More reading:

Titian - the giant of Renaissance art

How Sansovino left his mark on Venice

What made Palladio the world's favourite architect

Also on this day:

1798: The death of supremely gifted painter of Venetian scenes, Canaletto

1937: The birth of chef and restaurateur Antonio Carluccio

1953: The birth of Olympic champion Sara Simeon


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21 March 2018

Angela Merici – Saint

Nun dedicated her life to educating girls


Angela Merici, pictured in a 17th  century painting by an unknown artist
Angela Merici, pictured in a 17th
century painting by an unknown artist
Angela Merici, who founded the monastic Ursuline Order, was born on this day in 1474 in Desenzano del Garda, then part of the republic of Venice.

The Ursulines are the oldest order of women in the Roman Catholic Church dedicated to teaching and were the first to work outside a convent in the community.

Merici was orphaned at the age of 15 and sent to Salò to live in the home of an uncle, where she became deeply religious and joined the Third Order of Saint Francis.

She returned to Desenzano after the death of her uncle when she was 20 and found that many of the young girls in her home town received no education and had no hope of a better future.

Merici gathered together a group of girls to teach the catechism to the young children.

Then, in 1506, while praying in the fields, she had a vision that she would found a society of virgins in the town of Brescia.

It is claimed Merici became suddenly blind when she was on the island of Crete on her way to the Holy Land but continued on her journey. She is believed to have been cured of her blindness on her return, while praying at exactly the same place where she had been afflicted.

Merici and 28 of her followers consecrated themselves to God by a vow of virginity in 1535 in Brescia. They placed themselves under the protection of St Ursula, a fourth century martyr, and the Company of St Ursula was born. Their idea was to provide for the Christian education of girls in order to restore the family and, through the family, the whole of Christian society.

The 19th century artist Pietro Calzavacca depicted Angela Merici as a teacher
The 19th century artist Pietro Calzavacca
depicted Angela Merici as a teacher
Merici was unanimously elected as Superior of the Company in 1537. Before she died, she dictated her Testament and Souvenirs, which contained her counsels to her nuns.

After her death in 1540 in Brescia, her body was clothed in the habit of a Franciscan tertiary and interred in the church of St Afra, where she had often gone to pray at the tombs of martyrs. She was beatified in 1768 and canonised in 1807.

She is the patron saint of sickness, disability and those grieving the loss of parents.

The church of St Afra had to be rebuilt after Allied bombing in 1945 and after it reopened, a new dedication was made to Saint Angela Merici there.

Nuns from the Order of Ursulines established places of prayer and learning throughout Europe and north America. Many parishes and schools in America still bear the name Angela Merici.

The pretty harbour at Desenzano del Garda
The pretty harbour at Desenzano del Garda.
Travel tip:

Desenzano del Garda, Angela Merici’s birthplace, is the largest resort on Lake Garda, on the south western shore of the lake. It is a lively town with plenty of fashion shops, restaurants, bars and hotels. A Servizio di Navigazione (boat service) operates from Desenzano to other resorts on Lake Garda such as Sirmione, Bardolino, Peschiera and Moniga del Garda. In 1921 the remains of a fourth century Roman villa were unearthed close to the lake. The ruins are now open to the public and can be accessed from Via Antonio Gramsci. There is also a medieval castle within walking distance of the lake in Via Castello. The Duomo, dedicated to Santa Maria Maddalena, has an 18th century version of The Last Supper by Giambattista Tiepolo.


Piazza della Loggia is an elegant square in Brescia
Piazza della Loggia is an elegant square in Brescia
Travel tip:

Brescia in Lombardy, where Angela Merici worked and died, is of artistic and architectural importance. Brescia became a Roman colony before the birth of Christ and you can see remains from the forum, theatre and a temple. The town came under the protection of Venice in the 15th century and there is a Venetian influence in the architecture of the Piazza della Loggia, an elegant square, which has a clock tower similar to the one in Saint Mark’s square. Next to the 17th century Duomo is an older cathedral, the unusually shaped Duomo Vecchio, also known as la Rotonda.

14 October 2016

Palma Giovane - painter

Mannerist took the mantle of Tintoretto 


Jacopo Negretti, the Venetian artist better known as Palma Giovane
Jacopo Negretti, the Venetian artist better
known as Palma Giovane
The Venetian artist Jacopo Negretti, best known as Jacopo Palma il Giovane - Palma the Younger - or simply Palma Giovane, died in Venice on this day in 1628.

Essentially a painter of the Italian Mannerist school, Palma Giovane's style evolved over time and after the death of Tintoretto in 1594 he became the most revered artist in Venice.

He became in demand beyond Venice, too, particularly in Bergamo, the city in Lombardy that was a dominion of Venice, and in central Europe.  He received many commissions in Bergamo and was often employed in Prague by the Habsburg Emperor, Rudolph II, who was a noted art connoisseur.

Palma had been born into a family of painters. His great uncle, also called Jacopo, was the painter Palma Vecchio - Palma the Elder - while his father, Antonio Negretti, was a pupil of the elder Palma’s workshop manager, Bonifacio Veronese, whose shop and clientele he inherited after the latter’s death.

The younger Palma is said to have developed his skills making copies in the style of Titian, although the claim in some biographies that he worked in Titian's workshop in Venice is now thought to be incorrect. What is not disputed is that when Titian died, in 1576, Palma was entrusted with finishing his last work, the Pietà, in the Accademia in Venice.

In 1567, Guidobaldo II della Rovere, Duke of Urbino, had recognised Palma’s talents and sponsored him to further his education in Rome, where he remained until about 1572.

Palma Giovane's 1620 Lamentation of Christ, at the National Gallery of Art in Washington
Palma Giovane's 1620 Lamentation of Christ,
at the National Gallery of Art in Washington
On his return to Venice, Palma received his first major public commission, to paint three scenes in the Sala del Maggior Consiglio of the Doge’s Palace following a fire there in 1577.

Mannerism, from the Italian word maniera, meaning style, is characterised by frequently complex figures with elongated features, often given exaggerated, unusual poses.  It is seen as a reaction to High Renaissance art, which emphasised proportion, balance and idealistic beauty.

By the mid-1580s Palma was incorporating Tintoretto’s versatile figure postures and echoes of Titian’s loose brushstrokes and emphasis on light.

Palma worked alongside Veronese and Tintoretto on the decorations in the Doge’s Palace, where he embraced the Venetian tradition. Some of his finest works were the cycles of large canvases he painted for schools or religious brotherhoods and for sacred buildings such as the sacristies of San Giacomo dall’Orio and the Gesuiti, the Scuola di San Giovanni Evangelista, and the Ospedaletto dei Crociferi.

His official commissions at the Doge's Palace included a magnificent portrait of Saint Pope Pius V, commissioned by the Bellanti Counts, an influential family in Tuscany.  The painting left Italy after being bought by Major-General Sir Robert Dick, the British soldier and collector, before being returned by Roberto Gagliardi, an Italian art dealer based in London, who purchased it at Bonham's for display at the Museum of Art he established at Chianciano, not far from Siena.

After his death at the age of 80, Palma was interred in the Basilica dei Santi Giovanni e Paolo, a traditional burial place of the doges.

The Basilica dei Santi Giovanni e Paolo in Venice, where Palma Giovane is buried
The Basilica dei Santi Giovanni e Paolo in
Venice, where Palma Giovane is buried
Travel tip:

The huge Gothic Basilica dei Santi Giovanni e Paolo, where Palma Giovane is buried, is in the Castello district of Venice.  It is one of the largest churches in Venice and after the 15th century the funerals of all Doges took place there.  In all, it houses the tombs of 25 Doges.  There are many works by Veronese in the Chapel of the Rosary, as well as paintings elsewhere by Lorenzo Lotto and sculptures by Pietro Lombardo.  Outside is a statue of Bartolomeo Colleoni, the Bergamo condottiero (mercenary) and a former captain-general of the Republic of Venice, by Andrea del Verrocchio.

Travel tip:

Several of Palma Giovane's works commissioned in Bergamo are on display at the Accademia Carrara, a magnificent palace just outside Bergamo's Città Alta that was built in the 18th century to house one of the richest private collections in Italy. Visitors can view works by the masters of the Venetian, Lombard and Tuscan Renaissances as well as great artists who came later, such as Lotto, Titian, Moroni, Rubens, Tiepolo, Guardi and Canaletto.  The gallery, in Piazza Giacomo Carrara, is open Monday, Wednesday and Thursday (10am to 7pm); Friday (10am to 12 noon) and Saturday and Sunday (10am to 8pm).

More reading:


Titian - giant of Renaissance art

Tintoretto - dyer's won whose work still adorns Venice

How Guardi captured the final glory years of the Venetian Republic

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5 October 2016

Francesco Guardi - painter

Artist evoked image of republic’s final years


A portrait of Guardi by his contemporary, Pietro Longhi
A portrait of Guardi by his
contemporary, Pietro Longhi
One of the last great artists of the Venetian school, Francesco Lazzaro Guardi, was born on this day in 1712 in Venice.

Guardi’s wonderful scenes of crowds, festivals, regattas and concerts in Venice have kept the heyday of the republic alive for future generations to enjoy in art galleries all over the world.

The artist was born into a family of nobility from Trentino, who lived in a house in the Cannaregio district of Venice.

Guardi’s father and brothers were also painters and his sister, Maria Cecilia, married the great Venetian artist, Giovanni Battista Tiepolo.

Guardi’s first known works were painted in the 1730s in Vigo Anuania in Trentino, where he was working alongside his older brother, Gian Antonio.

Guardi's painting of the Doge's state barge, the Bucintoro, near  the Riva di Sant'Elena, which is housed at the Louvre in Paris
Guardi's painting of the Doge's state barge, the Bucintoro, near
 the Riva di Sant'Elena, which is housed at the Louvre in Paris
The first work to be signed by Guardi is the picture Saint Adoring the Eucharist, which was painted in about 1739.

Guardi seemed equally comfortable painting landscapes or figures, but his early views of Venice show the influence of Canaletto on his style.

In 1757 Guardi married Maria Mattea Pagani, the daughter of another painter, Matteo Pagani.

One of his most important works was The Doge’s Feasts, a series of 12 canvases commissioned to celebrate the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo.

Guardi was also commissioned by the Venetian authorities to paint six canvases to celebrate the visit of Russian Archdukes to the city, of which only two remain.

This view of St Mark's Square is among the Guardi works
that can be seen at Accademia Carrara in Bergamo
The Academia Carrara in Bergamo has some fine examples of Guardi’s paintings in its collection, such as the Friars’ Cloister, the  Façade of Palace with Staircase and some wonderful views of Venice.

As Guardi grew older his style became noticeably different from that of Canaletto, who focused on the glamour of Venice, often showing it in bright sunshine.

Guardi often painted cloudy skies above the city at dusk, accurately conveying the mood and atmosphere of each scene. Some of his paintings evoke the onset of the decline of Venice’s empire, such as his landscape, Fire in the Oil Depot in San Marcuola, which was painted in 1789.

Guardi died in Cannaregio in 1793 at the age of 80, four years before the end of the Republic of Venice.

The house in Campiello della Madonna, a small square in Cannaregio, where Guardi lived for much of his life
The house in Campiello della Madonna, a small square in
Cannaregio, where Guardi lived for much of his life
Travel tip:

Cannaregio, where Guardi was born and died, is a peaceful quarter of Venice, with crumbling, shuttered houses and little shops and bars that are still patronised by Venetians. Among the architectural masterpieces of the area are the Gothic church of Madonna dell’Orto and the early Renaissance church of Santa Maria dei Miracoli.

Travel tip:

Bergamo’s Accademia Carrara has a fine collection of paintings by Guardi including views of L’Isola di San Giorgio, Il Rio dei Mendicanti, Il Ponte di Rialto and Piazza San Marco. The Accademia Carrara is housed in a magnificent palace just outside Bergamo’s Città Alta, built in the 18th century to house one of the richest private collections in Italy. It is the only Italian museum to be entirely stocked with donations and bequests from private collectors. Visitors can view works by the masters of the Venetian, Lombard and Tuscan Renaissances as well as the great artists who came later, such as Guardi, Lotto, Titian, Moroni, Rubens, Tiepolo and Canaletto. For more details visit www.lacarrara.it.

(Photo of Guardi's house by Didier Descouens CC BY-SA 4.0)

More reading:


Tiepolo: 'greatest decorative artist of 18th century Europe'

Titian - giant of Renaissance art

How Pietro Longhi captured everyday life in 18th century Venice

Tintoretto - the dyer's son whose work still adorns Venice


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13 June 2016

Saint Anthony of Padua

Pilgrims honour the saint famous for his miracles


Photo of the Basilica di Sant'Antonio
The Basilica di Sant'Antonio in Padua
The feast of Saint Anthony of Padua (Sant’Antonio da Padova) will be celebrated  by thousands of pilgrims visiting the northern Italian city today.

Special services will be held in the Basilica di Sant’Antonio and a statue of the saint will be carried through the streets of Padua.

Over the next few days pilgrims from all over the world will visit the Basilica, to see the saint’s tomb and relics.

Anthony was born in Portugal where he became a Catholic priest and a friar of the Franciscan order. He died on 13 June, 1231 in Padova and was declared a saint by the Vatican a year after his death, which is considered a remarkably short space of time.

Anthony is one of the most loved of all the saints and his name is regularly invoked by Italians to help them recover lost items.

It is estimated that about five million pilgrims visit the Basilica every year in order to file past and touch the tomb of the Franciscan monk, who became famous for his miracles, particularly relating to lost people or things.

The magnificent basilica in Piazza del Santo is an architectural masterpiece created between the 13th and 14th centuries, but it was later enriched with works of art by masters such as Titian, Tiepolo and the sculptor Donatello.

Saint Anthony’s Basilica is an imposing sight in Padova’s skyline even from a distance as it has seven domes around a cupola, two campanili (towers) and tapering spires like the minarets of a mosque.

Inside, the church is in the plan of a Latin cross with a nave and aisles in the gothic tradition. The Saint’s body lies in a marble tomb in the area known as the Chapel of the Tomb in the left transept.

The walls around the tomb are decorated with large 16th century marble reliefs that depict scenes from Saint Anthony’s life. These are overshadowed by the impressive amount of offerings and photographs on display from people wishing to give thanks after surviving car crashes or serious illnesses thanks to what they believe was the intervention of Sant’Antonio.

In a separate chapel, visitors can see relics of Saint Anthony and other important objects, such as a tunic believed to have been worn by the saint.

Photo of the Scrovegni Chapel
The Scrovegni Chapel is home to magnificent
frescoes by Giotto
Travel tip:

Padova in the Veneto is also one of the most important centres for art in Italy and home to the country’s second oldest university. Padova has become acknowledged as the birthplace of modern art because it is home to the Scrovegni Chapel, the inside of which is covered with frescoes by Giotto, a genius who was the first to paint people with realistic facial expressions showing emotion. His scenes depicting the lives of Mary and Joseph, painted between 1303 and 1305, are acknowledged as his greatest achievement and are one of the world’s most important works of art. At Palazzo Bò, Padova’s university founded in 1222, you can still see the original lectern used by Galileo and the world’s first anatomy theatre, where dissections were secretly carried out from 1594.

Travel tip:

The enormous Basilica di Sant’Antonio da Padova, or Basilica del Santo as it is known to local people, is one of the most important places of Christian worship in the world. To reach it from the railway station in Piazzale Stazione, take the tram and get off at the stop called simply, Santo. Buses also run between the station and the Basilica. If you are on foot, walk down Corso del Popolo, Corso Garibaldi, Via Eremitani, Via Zabarella and Via del Santo. The Basilica is open from 06.20 to 19.00 in the winter and 06.20 to 19.45 in the summer. Admission is free.

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5 March 2016

Giovanni Battista Tiepolo – artist

 Painter’s decorative work can be seen all over Venice


Tiepolo painted his self-portrait in around 1753
Giovanni Battista Tiepolo: self-portrait
Painter and print maker Giovanni Battista Tiepolo was born on this day in 1696 in Venice.

Also sometimes known as Gianbattista or Giambattista Tiepolo, his output was prolific and he enjoyed success not only in Italy, but in Germany and Spain as well.

Highly regarded right from the beginning of his career, he has been described by experts as the greatest decorative artist of 18th century Europe. Although much of his work was painted directly on to the walls and ceilings of churches and palaces in his native Venice, many of Tiepolo’s paintings on canvas are now in art galleries all over the world.

Tiepolo was the youngest child of a Venetian shipping merchant who died a year after his birth leaving his mother to struggle to bring up her six children alone.

In 1710 he became a pupil of Gregorio Lazzarini, a successful established painter, but Tiepolo quickly developed a style of his own.

His earliest known works are depictions of the apostles, which form part of the decoration of the interior of the Church of Santa Maria dei Derelitti at Ospedaletto in Venice , painted in 1717.


The Church of Santa Maria dei Derelitti in Venice, where can be  found Tiepolo's earliest work
The Church of Santa Maria dei
Derelitti in Venice, where can be
found Tiepolo's earliest work
Tiepolo was commissioned to produce portraits for the Doge and he started painting frescoes directly on to the walls of churches in 1717.

In 1719 Tiepolo married Maria Cecilia Guardi, the sister of painters Francesco Guardi and Giovanni Antonio Guardi and they had nine children. Two of his sons, Domenico and Lorenzo, eventually painted with him as assistants.

Tiepolo was commissioned to produce paintings for many churches in Venice but also for the interiors of palaces in Milan and for the Colleoni Chapel in Bergamo.

At the request of a German prince, Tiepolo travelled to Wurzburg in 1750 to produce ceiling paintings for his palace.

He returned to Venice where he continued to produce paintings for churches and palaces until in 1761 he was invited to Madrid by King Charles III to create a ceiling fresco for the throne room of the Royal Palace. He fulfilled other commissions in Madrid, although he had to put up with jealousy from the other artists working for the king at the time. Tiepolo died in Madrid in 1770.

The meeting of Anthony and Cleopatra, depicted by Tiepolo,  can be found in Palazzo Labia
The meeting of Anthony and
Cleopatra, depicted by Tiepolo,
can be found in Palazzo Labia
Travel tip:

Palazzo Labia in Fondamenta Labia in Venice has frescoes in the ballroom depicting the life of Cleopatra, painted by Tiepolo between 1745 and 1750. The prestigious palace is on the wide Cannaregio Canal , close to its junction with the Grand Canal , but the entrance to it is off Campo San Geremia. The palace sometimes holds free classical concerts in the magnificently decorated ballroom, or visitors can arrange to see the frescoes by appointment.

Venice hotels from Booking.com

Travel tip:

The Church of the Gesuati in Fondamenta delle Zattere in Venice has a ceiling frescoed by Tiepolo with scenes from The Life of St Dominic. The impressive work of art, painted between 1737 and 1739, demonstrates the artist’s amazing mastery of light and colour.

2 November 2015

Bartolomeo Colleoni - soldier

Death of an ‘honourable’ Italian military leader


Bergamo soldier Bartolomeo Colleoni, who became known for using his wealth to benefit people, died on this day in 1475.


Colleoni spent most of his life in the pay of the republic of Venice defending the city of Bergamo against invaders.


Statue of Colleoni in Venice
But he is remembered as one of the most decent condottieri of his era, carrying out charitable works and agricultural improvements in Bergamo and the surrounding area when he was not involved in military campaigns.


Condottieri were the leaders of troops, who worked for the powerful ruling factions, often for high payments. 


Bergamo’s Bartolomeo Colleoni was unusual because he remained steadfast to one employer, the republic of Venice, for most of his career.


During a period of peace between Venice and Milan he worked briefly for Milan but the rulers never fully trusted him and eventually he was arrested and imprisoned. On his release, he returned to work for Venice and subsequently stayed faithful to them.


Towards the end of his life he lived with his family at his castle in Malpaga, to the south of Bergamo and turned his attention to designing a building to house his own tomb. 


This has given Bergamo’s upper town its most ornate and celebrated building, the Cappella Colleoni (Colleoni Chapel).

Colleoni Chapel in Bergamo
Bartolomeo Colleoni left money to Venice in his will with a request that a statue of himself be erected in Piazza San Marco after his death. As there was a rule that no monuments were allowed in the Piazza, the statue, made by Andrea del Verrocchio, was eventually placed opposite the Scuola di San Marco in Campo Santi Giovanni e Paolo.

Travel tip:


Visit Bergamo to see one of the finest examples of Renaissance architecture in Italy.  
Cappella Colleoni was designed by architect Antonio Amadeo to harmonise with the adjacent Basilica di Santa Maria Maggiore, using pink and white marble to match the colours of the doorway of the basilica. Inside the chapel there is an elaborate two tier sarcophagus surmounted by a golden statue of Colleoni on horseback. The military leader’s body was placed in the lower sarcophagus, according to his instructions, where it still lies today. Above his tomb there are frescoes by Giambattista Tiepolo.

Travel tip:


November 2 is All Souls Day, or the Day of the Dead, in Italy, when people visit the graves of their loved ones. Many areas observe their own rituals and have special foods, such as the slightly macabre ossi dei morti (bones of the dead), which are traditional biscuits eaten on All Souls Day in the Veneto region.