Died on 03 March 1804: Giovanni-Domenico
Tiepolo, Italian Rococo
Era painter born on 30 August 1727. Son of Giovanni-Battista
Tiepolo [05 Mar 1696 – 27
— Giandomenico a été apprécié par ses contemporains surtout pour ses talents d'imitateur zélé de son père, Giambattista Tiepolo. Il vivra longtemps dans son ombre. C'est par ses innombrables dessins qu'il a trouvé son moyen d'expression privilégié, le mieux accordé à sa manière intimiste. Parmi ses thèmes favoris, on retrouve, comme dans l'oeuvre de son père, de nombreux croquis de Pulcinelli et de scènes de la vie vénitienne.
— Painter and etcher, son of Venetian artist Giovanni Battista Tiepolo. Worked in Venice, Würzburg, Udina, and Madrid. Master and President of the Venetian Academy in his life time. A talented genre painter, especially of scenes from contemporary life and popular theatre. Notable among early
works are the paintings of the Stations of the Cross for S. Polo, Venice (1747-49), and the chinoiserie decorations of the guest wing of the Villa Valmarana (1757) in Vicenza. Worked in Madrid from 1762 until his father died in 1770. Returned to Venice, executed several frescoes and easel paintings, and especially scenes from the commedia dell'arte. Produced innumerable drawings for collectors, and nearly 200 etchings after his and his father's designs. Brother, Lorenzo Tiepolo (1736-76), specialized in genre scenes in pastel.
— Giovanni Domenico (= Giandomenico) Tiepolo was the son of Giovanni Battista Tiepolo, the greatest Italian painter of the 18th century. His mother was Cecilia Guardi, the sister of the painter Guardi brothers, Niccolo Guardi [09 Dec 1715 – 26 May 1785], Francesco Guardi [1712-1793], and Gian Antonio Guardi [1698 – 23 Jan 1760].
The gifted and clever son of a great artist, Giandomenico Tiepolo spent many years learning by working alongside his father. Giambattista was so convinced of his son's talent that he involved him in the major commissions he undertook at the height of his own powers, and Giandomenico went with him to Würzburg, Vicenza, Stra, and Madrid. It becomes progressively easier to pick out Giandomenico's contributions to the works completed in these years, as during this time he was gradually acquiring his own personal style. This was substantially different (at least in the choice of subject matter) from his father's.
Giandomenico's temperament emerged most effectively in the frescos he painted for the guest lodge at Villa Valmarana near Vicenza (1757). They are imbued with a strong sense of realism, if still elegant and playful. Giandomenico had a marked preference for scenes from contemporary life. He viewed life always from a somewhat ironic perspective (although this was usually quite gentle, he could on occasion become savage). This was true of him both as a painter and as an engraver. At the same time he never broke away fully from his father's style. In particular, Giandomenico worked very closely with his aged father during their stay in Spain (1762-1770). The paintings he and his father produced in Madrid were to be a fundamental influence on Goya at the start of his own career.
After his return to Italy, Giandomenico pursued important decorative programs in Venice, Brescia, and Genoa. His painting gradually became tinged with the feeling that it was the end of an epoch. This translated as a lightness of touch and a latent melancholy in the frescos he painted in his family's own villa. These were painted during the last decade of the eighteenth century. Giandomenico is noteworthy also for his etchings, especially the twenty-two variations on the theme of the Flight into Egypt (1753).
— Self-Portrait (1775, etching 12x9cm) — Portrait of the Artist's Father, Giovanni Battista Tiepolo (1775, etching 12x10cm)
— Minuet 1756 _ This is an extremely interesting early piece which borrows its compositional layout from scenes painted by his father. The difference is that Giandomenico chose not to paint mythological or allegorical scenes. The minuet is being danced by people wearing traditional masks and having a good time. Its proper classification is therefore a genre painting. It was works like this that made such a deep impression on the young Goya.
— The Swing of Pulcinella (1793, 200x170cm) _ This fresco comes from the Tiepolo villa at Zianigo, between Padua and Venice.
— The Procession of the Trojan Horse in Troy (1773, 39x67cm) _ The Building of the Trojan Horse (1773, 39x67cm) _ These companion-pieces are part of a series illustrating a famous passage from Virgil's Aeneid (Book 2): The Greeks build a wooden horse, fill it with armed men and leave it outside the enemy city of Troy. The two pictures are close in style to the work of the artist's father Giambattista.
— Peasants at Rest (1757) _ The prevailing style of the first half of the 18th century was set by the enormous success of often flamboyant Venetian painters: Sebastiano Ricci, Piazzetta, and above all, Giambattista Tiepolo. But there were other currents as well. The Lombard painters Ceruti and Ghislandi, the Genoese artist Magnasco, Crespi from Bologna and Traversi from Naples (in addition of course Giandomenico Tiepolo in Venice) all adopted different but equally lively approaches. These artists paid close attention to themes and people taken from everyday life, which later led to the strand of "social" painting of the second half of the nineteenth century. Giandomenico Tiepolo's frescoes in the guest house of Villa Valmarana represent examples of this approach.
— Summer Stroll (1757) _ While Giambattista was busy in the main house painting famous episodes taken from heroic poems, his son Giandomenico decorated the rooms in the guest house with enjoyable if somewhat enigmatic scenes like this. The subject of the seasons, which Giambattista would probably have portrayed in wonderful allegories, provided Giandomenico with the occasion to depict scenes set in the countryside with romantically distant vistas but utterly real people.
— The Flight into Egypt (episode of the falling idols) (1753, etching 17x22cm)
— 55 etchings at FAMSF
Died on 03 March 1928 Theodoor
Jan Toorop, Dutch Symbolist painter born on 20 December
1858. [Vous ne trouvez pas qu'il y a des O de Trop dans son nom?]
Dutch painter, born in Java. Studied art in Delft and Amsterdam. A grant allowed him to study in Brussels, where he came into contact with the XX group, and became a member in 1885. He befriended Khnopff, Ensor and de Groux. In 1886, he met Whistler in London. He discovered the Pre-Raphaelites and William Morris' views on art and socialism. In 1890 he developed his own version of Symbolism using elements of a Javanese aesthetic. Met Péladan in 1892. In 1905 converted to Catholicism. His themes thereafter became religious and even mystic. His style simplified and he adopted a technique close to Pointillisme, which he put at the service of a fragmentation of the surface of the painting at poles from the measured unity to which Seurat aspired. These fragmentary surfaces relate Toorop to Expressionism.
O grave, where is thy Victory (1892, 62x76cm) _ Two angels are removing thorns from a corpse coveted by the forces of Evil, on the right. The curved lines express good, the broken lines evil.
Poster for Delftsche Slaolie, (1894) The Sea (1887) The Seduction (1886, 67x77cm) Les Calvinistes de Catwijck (1891; 68x78cm) Also known as Hell and Doubt or Old Superstitious Dreamers. The Young Generation (1892)
Le Passeur d'eau (1895) _ A book illustration for the poem of Émile Verhaeren (21 May 1855 27 Nov 1916).
Le passeur d'eau
Le passeur d'eau, les mains aux rames,
A contre flot, depuis longtemps,
Luttait, un roseau vert entre les dents.
Mais celle hélas! Qui le hélait
Au delà des vagues, là-bas,
Toujours plus loin, par au delà des vagues,
Parmi les brumes reculait.
Les fenêtres, avec leurs yeux,
Et le cadran des tours, sur le rivage
Le regardaient peiner et s'acharner
De tout son corps ployé en deux
Sur les vagues sauvages.
Une rame soudain cassa
Que le courant chassa,
A flots rapides, vers la mer.
|Celle là-bas qui le hélait
Dans les brumes et dans le vent, semblait
Tordre plus follement les bras,
Vers celui qui n'approchait pas.
Le passeur d'eau, avec la rame survivante,
Se prit à travailler si fort
Que tout son corps craqua d'efforts
Et que son coeur trembla de fièvre et d'épouvante.
D'un coup brusque, le gouvernail cassa
Et le courant chassa
Ce haillon morne, vers la mer.
Les fenêtres, sur le rivage,
Comme des yeux grands et fiévreux
Et les cadrans des tours, ces veuves
Droites, de mille en mille, au bord des fleuves,
Cet homme fou, en son entêtement
A prolonger son fol voyage.
Celle là-bas qui le hélait,
Dans les brumes, hurlait, hurlait,
La tête effrayamment tendue
Vers l'inconnu de l'étendue.
| Le passeur d'eau, comme quelqu'un
Planté dans la tempête blême
Avec l'unique rame, entre ses mains,
Battait les flots, mordait les flots quand même.
Ses vieux regards d'illuminé
Fouillaient l'espace halluciné
D'où lui venait toujours la voix
Lamentable, sous les cieux froids.
La rame dernière cassa,
Que le courant chassa
Comme une paille, vers la mer.
Le passeur d'eau, les bras tombants,
S'affaissa morne sur son banc,
Les reins rompus de vains efforts,
Un choc heurta sa barque à la dérive,
Il regarda, derrière lui, la rive :
Il n'avait pas quitté le bord.
Les fenêtres et les cadrans,
Avec des yeux fixes et grands
Constatèrent la fin de son ardeur ;
Mais le tenace et vieux passeur
Garda quand même encore, pour Dieu sait quand,
Le roseau vert entre ses dents.