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130:. Yet Piazzeta's range of topics was broader than that of these artists; Tiepolo, for example, never painted genre paintings and restricted himself to grand history and religious altarpieces. Ricci and Tiepolo had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta's darker and more intimate depictions. Nonetheless, Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo's palette influenced Piazzetta in his later years.
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Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a
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Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in
Venetian
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was transformed into an idiom of graceful charm in his pictures of common folk. He was also greatly impressed by the altarpieces created by another
Bolognese painter of a half-century earlier,
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or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced
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Portrait of a Young Woman in
Profile with a Mask in her Right Hand (c.1720-1730) Carmen Thyssen-Bornemisza Collection on loan at The Thyssen-Bornemisza Museum, Madrid.
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composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings,
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was affiliated with his studio, and engraved many of his works. Among younger painters who emulated his style are
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while living in
Bologna in 1703–05, although there is no record by Crespi of formal tutelage. Thanks to Crespi,
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Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in
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98:'s influence reached Piazzetta. Piazzetta did find inspiration in Crespi's art, in which the
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The
Sacrifice of Isaac (c.1715) Thyssen-Bornemisza Museum on loan at The MNAC, Barcelona.
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153:, Venice). He brought similar elusiveness to works of a religious nature, such as the
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26:(1730s),Charcoal heightened with White on green-grey paper. In the collection of the
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553:, by Felice De Angeli, Andrea Timolati, published in Milan (1877), page 134.
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Portrait of Giulia Lama(c.1715-1720) Thyssen-Bornemisza Museum. Madrid.
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632:"Portrait of a Young Woman in Profile with a Mask in her Right Hand"
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Giuseppe Maria Crespi and the
Emergence of Genre Painting in Italy
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In 1750 Piazzetta became the first director of the newly founded
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Academic staff of the
Accademia di Belle Arti di Venezia
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St
Anthony of Padua, St Gaetano, and Guardian Angel
233:(1683–1753). He died in Venice on April 28, 1754.
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44:(1735), oil on canvas. In the collection of the
671:(1993). "19". In Pelican History of Art (ed.).
193:in 1727. Among the painters in his studio were
264:Madonna and child appearing to St Philip Neri
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675:. 1980. Penguin Books Ltd. pp. 481–82.
294:(1737) National Gallery Art, Washington DC
90:. By Piazzetta's account, he studied under
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538:Carlo Goldoni e Venezia nel secolo XVIII
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673:Art and Architecture Italy, 1600-1750
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541:.(1882) Ferdinando Galanti, page 400.
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187:Accademia di Belle Arti di Venezia
66:painter of religious subjects and
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744:18th-century Italian male artists
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60:Giambattista Valentino Piazzetta
16:Italian painter (1682/1683–1754)
659:Encyclopædia Britannica (1990)
630:Piazzetta, Giovanni Battista.
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604:Piazzetta, Giovanni Battista.
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578:Piazzetta, Giovanni Battista.
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274:Santi Giovanni e Paolo, Venice
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709:17th-century Italian painters
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302:, (after 1735, unfinished)
52:Giovanni Battista Piazzetta
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506:(1725–30), oil on canvas.
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327:The Death of Darius (1746)
636:Thyssen-Bornemisza Museum
610:Thyssen-Bornemisza Museum
584:Thyssen-Bornemisza Museum
580:"Portrait of Giulia Lama"
254:St.James Led to Martyrdom
219:Giovanni Battista Pissati
203:Johann Heinrich Tischbein
28:Thyssen-Bornemisza Museum
724:Italian Baroque painters
606:"The Sacrifice of Isaac"
514:
508:Art Institute of Chicago
82:, the son of a sculptor
292:St. Margaret of Cortona
151:Gallerie dell'Accademia
564:Santa Maria della Fava
491:The Sacrifice of Isaac
402:Santi Giovanni e Paolo
382:Three Dominican Saints
330:Peasant Girl (1720–22)
272:(1725–1727) Chiesa di
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168:Santi Giovanni e Paolo
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78:Piazzetta was born in
56:Giambattista Piazzetta
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42:The Assumption of Mary
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714:Italian male painters
680:John T Spike (1986).
400:Glory of St Dominic,
357:Ecstasy of St Francis
280:Ecstasy of St.Francis
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92:Giuseppe Maria Crespi
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729:Painters from Venice
416:Young woman with Dog
191:Accademia Clementina
479:Rebecca at the Well
440:Peasant Girl Asleep
309:Rebecca at the well
270:Glory of St.Dominic
140:, Accademia, Venice
739:Catholic engravers
300:Sacrifice of Isaac
258:Chiesa di San Stae
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227:Federico Bencovich
195:Domenico Maggiotto
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669:Wittkower, Rudolf
663:Britannica online
231:Francesco Polazzo
211:Antonio Marinetti
207:Egidio Dall'Oglio
165:in the Church of
84:Giacomo Piazzetta
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246:Idyll at Coast
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201:(il Capella),
149:(1740, now in
147:The Soothsayer
138:The Soothsayer
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64:Italian Rococo
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54:(also called
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452:Shepherd Boy
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704:1754 deaths
699:1682 births
562:originally
248:(1739-1740)
223:Giulia Lama
162:St. Dominic
156:Sotto in su
100:chiaroscuro
693:Categories
654:References
504:Beggar boy
286:Assumption
180:engravings
104:Caravaggio
324:(1739–41)
260:, Venice.
160:Glory of
74:Biography
404:, Venice
388:, Venice
312:, c 1740
266:(1725-7)
176:charcoal
108:Guercino
641:5 April
615:5 April
589:5 April
386:Gesuati
344:Gallery
256:(1717)
128:Tiepolo
116:Baroque
466:Darius
318:(1740)
288:(1735)
282:(1732)
229:, and
209:, and
120:Rococo
80:Venice
46:Louvre
32:Madrid
515:Notes
124:Ricci
114:late-
643:2020
617:2020
591:2020
126:and
102:of
58:or
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