By Joan Holt, Linda Wolk-Simon, Philippe de Montebello
Born in Venice on August 30, I727, Giovanni Domenico Maria Antonio Tiepolo used to be baptized at the 10th of September within the parish church of San Ternita (Santissima Trinita). The 5th baby and eldest surviving son of Giambattista Tiepolo and his spouse, Cecilia Guardi, sister of the painters Gianantonio and Francesco Guardi, Domenico used to be named for his maternal and paternal grandfathers, Domenico Tiepolo and Domenico Guardi. In becoming a member of his fathers enterprise (as his more youthful brother Lorenzo used to be later to do), he the long-standing Venetian culture of the familyworkshop, practiced within the 15th century by means of the Bellini, the Vivarini, and the Lombardo relations of sculptors and designers, and perpetuated into the 16th century via Carpaccio, Tintoretto,
Veronese, and Jacopo Bassano, all of whom collaborated with offspring of largely divergent talents. one other family members
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Extra info for Domenico Tiepolo Drawings, Prints, and Paintings in The Metropolitan Museum of Art The Metropolitan Museum of Art Bulletin
Example text
The scene of a flogging, for example (fig. I05), is not based on anyimmediatelyrecognizableprototype, a testimonial to the aging artist's still-fertileimagination. But it should come as no surpriseto discoverthat, when composing the Punchinello scenes, Domenico turned to the Tiepolo encyclopediafor inspiration, once again liberally quoting fromhis father'spaintings and drawings. Accordingly, Giambattista'sfresco of the Marriageof Frederick Barbarossaand Beatrice of Burgundyfromthe Kaisersaal atWiirzburgis paraphrasedin the drawingof a Punchinello marriage(fig.
There are throughoutthe ContemporaryLife series figuresbasedon GiambattistaTiepolo'scaricatures(fig. 92). Like the chalk drawingsreferredto above, these studies, producedin great numbersand pasted into albums,were retainedby Domenico afterhis father'sdeath, providinga convenient and-given the humorousand gently satirical vein of the series-relevant repertoireto drawupon. Domenico's own efforts in this genre are similarin spirit and remarkablyclose in style to Giambattista's(fig. 9I). " Caricature of a Gendeman and Other Studies.
The scenes are all borderedby framinglines that serve to underscoretheir characteras autonomousworks. Five ContemporaryLife drawingsarein the Museum's collection. Fromthe lower ranks of the social ordercomes the motley crowdgazing into the leopards'cage at a menagerie (fig. 86). In another sheet the interior of a *56* schoolroom, where one hapless pupil wears the donkey ears of a dunce, is minutely described (fig. 87). The image known as "InPiazza" (fig. A pair of fashionablyattiredthreesomes, each consisting of a gentleman accompanyingtwo elegantly accessorizedladies, meets outside a cafe.