Giovanni Domenico Tiepolo

Par mākslinieku

Džovanis Domenikas Tiepolas (Giovanni Domenico Tiepolo, 1727–1804) – garsus XVIII amžiaus Italijos rokoko laikotarpio dailininkas ir grafikas. Jis gimė išskirtinėje Venecijos menininkų šeimoje. Nuo mažens Domenikas kartu su savo tėvu, žinomu tapytoju Džovani Batista Tiepolo, dirbo ir perėmė jo meninio meistriškumo paslaptis.

Nors Tiepolo tėvo ir sūnaus meninės manieros turi sąsajų, domeniko tapyboje aiškiai atsiskleidžia didesnis natūralumas bei jautrumas kasdienybės motyvams. Skirtingai nei jo tėvas, kuriam buvo būdingos didingos, alegorinės ir religinės siužetų kompozicijos, Domeniką pirmiausia žavėjo paprastų žmonių gyvenimo scenos, taip pat teatrališki momentai.

Domenikas Tiepolo ypač mėgo vaizduoti Venecijos kasdienio gyvenimo akimirkas ir populiariosios komedijos dell’arte siužetus. Jo piešiniai ir freskos išsiskiria dinamiškumu, pertvėrimu emocijų, gausybe išraiškingų personažų, kurie stebina žvilgsnius iki šiol. Menininko darbuose dažnai dominuoja lengvi potėpiai ir šviesios spalvos, suteikiančios kūriniams ypatingo grožio.

Domeniko Tiepolo meninis indėlis yra vertingas ir reikšmingas – daug jo kūrinių šiandieną galima rasti Italijos bei kitų šalių muziejuose. Šio dailininko veikla laikoma svarbia jungtimi tarp Venecijos baroko meistrų ir vėlesnių realistinių dailės krypčių.

Giovanni Domenico Tiepolo

The Flight, Holy Family Walking with Angel (1750–1753)

Punchinello’s Mother Sick in Pregnancy (early 19th century)

Punchinellos Outside a Circus (late 18th–early 19th century)

The Women Of Darius Invoking The Clemency Of Alexander (between 1750 and 1753)

Christ Crowned with Thorns (ca. 1748–72)

The Flight, Holy Family at the Right, Joseph Looking to the Left (1750–1753)

The Flight, with Madonna at Right Supported by Angels (1750–1753)

The Departure of the Gondola (mid-1760s)

Carnival Scene Or The Minuet (1754-55)

The apotheosis of a pope and martyr (circa 1780-1785)

The Continence Of Scipio (Ca. 1751)

A Centaur Abducting a Nymph (1727–1804)

Eight Monkeys, a Dead Goose, and a Cormorant (mid-18th–early 19th century)

A Bull Lying Down, and Two Donkeys, in a Landscape (ca. 1760–61)

The Holy Family Passes under a City Arch (1750–1753)

Creation of the Universe

A Lion, Lying Toward the Right (on a Base) (mid-18th–early 19th century)

The Cattle Vendor (1790s)

The Holy Family Preparing to Embark (1750–1753)

Cupid Blindfolded and Two Doves (1757 or after)

The Flight, Joseph at Right and Mary and Angel at Left (1750–1753)

The Baptism of Christ (with Three Angels Attending Him) (ca. 1770–90)

Punchinellos Hunting Waterfowl (c. 1800)

The Glorification of The Giustiniani Family (1783)

A Donkey Lying on the Grass, with an Italian Greyhound (on a Base) (late 18th century)

Cupid Blindfolded, Carried Through the Sky by Seven Winged Putti (ca. 1770–90)

The Rest on the Flight with Joseph in Adoration (1752)

The Minuet (1756)

A Crowd of Persons in Antique Roman or Oriental Dress, Gathering at a Pagan Altar (ca. 1743)

The Woman with a Tambourine (1790s)

Portrait of a Woman (1762-1770)

Joseph, Standing, Adores the Child (1750–1753)

The Betrothal of the Virgin (ca. 1770)

El Descendimiento (1772)

The Madonna and Child at Left, with a File of Angels (1750–1753)

A Dance in the Country (ca. 1755)

Cupid Blindfolded in the Clouds, with Five Attendant Putti (ca. 1770–90)

The Assumption of the Virgin (1727–1804)

The Madonna, Child and Angels Entering the Boat (1750–1753)

Hercules and Antaeus (with a Base Below) (late 18th century)

Rinaldo Enchanted by Armida (mid-18th–late 18th century)

The Holy Family Arriving at a City Gate (1750–1753)

Goats and Sheep in a Landscape (ca. 1760–61)

Sheep and Cows (1790s)

L’Agonie du Christ à Gethsémani

Angels in the Sky (before 1762)

A Flirtation (ca. 1797)

Centaur Embracing Nymph in a Wild Landscape (ca. 1771–91)

The Sacrifice of Isaac (mid-1750s)

Centaur Carrying Off a Nymph (mid-18th–late 18th century)

The Lamentation At The Foot Of The Cross

Joseph Relays to Mary God’s Command to Flee (1750–1753)

The Rest on the Flight (1750–1753)

Punchinello Retrieving Dead Fowls from a Well (late 18th–early 19th century)

Rinaldo Persuaded by Ubaldo and Guelfo to Abandon Armida (mid-18th–late 18th century)

Arms of Carl Philipp von Greiffenflau, Prince-Bishop of Wurzburg (1750–1753)

Hercules and Antaeus (with a ledge Below) (late 18th century)

A Boar, Galloping to the Left, and a Sleeping Sow (on the Base) (mid-18th–early 19th century)

The Rest on the Flight into Egypt (with a Truncated Pyramid on the Right) (ca. 1770)

Cupid in the Clouds with Attendant Cherubs (1757 or after)

Cupid Blindfolded, on a Cloud Supported by Two Attendant Putti (ca. 1770–90)

The Baptism of Christ (with Two Ducks in the Water at Lower Right) (ca. 1770–90)

Punchinellos Felling (or Planting) a Tree (late 18th–early 19th century)

The Baptism of Christ (with a Woman Holding a Child Among the Spectators at the Right) (ca. 1770–90)

God the Father and Angels Adoring the Madonna and Child (recto) (c. 1753)

A Flock of Winged Cherubs in the Sky, One Holding a Martyr’s Palm (ca. 1770–90)

Christ and the Woman Taken in Adultery (1752)

Satyr Family in a Wild Landscape (ca. 1771–91)

Frieze of Allegorical Figures (after 1770)

God the Father with Symbol of the Trinity (1758 or after)

Joseph and Mary Prepare to Leave (1750–1753)

The Flight with the Holy Family at the Left (1750–1753)

Paris holding an apple

Cattle in a Landscape (mid-18th–early 19th century)

Christ at Supper with Simon the Pharisee, with the Anointment of Christ’s Feet by Mary Magdalen (1785)

Punchinello’s Farewell to Venice (1798-1802)

The Holy Family at the Bank of the River (1750–1753)

Joseph Kneels with the Child before Mary on the Donkey (1750–1753)

The Triumph of Pulcinella (1759 - 1770)