By Giovanni Battista Tiepolo
A listing of the 1st accomplished exhibition in a decade of the paintings of Giambattista Tiepolo, the main extraordinary artist of eighteenth-century Venice.
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41 32 . ”, 1876. 3 cm. Birmingham Museums and Art Gallery, Birmingham. 42 33 . The Golden Stairs, 1876-1880. 8 cm. Tate Britain, London. 43 early career is Sidonia von Bork (p. 7), a gouache of 1860 based on Johann Wilhelm Meinhold’s novel Sidonia the Sorceress. This picture owes a double debt to an earlier gouache by Rossetti of Lucrezia Borgia washing her hands after disposing of one of her husbands by poison and to Giulio Romano’s famously sinister portrait of Isabella d’Este, from which Burne-Jones has borrowed the interweaving, linear pattern on the dress that so effectively suggests the web of murderous intrigue spun by the evil Sidonia.
Century canons of political correctness: “A woman at her best, self-denying and devoted, is pathetic and lovely beyond words, but once she gets the upper hand and flaunts, she 31 . Sketch-book, 1875. 2 cm. “fin de siècle”. The more carnal femme fatales, such as Salome, Judith and Delilah, did Birmingham Museums and not appeal to him as subject matter. The most striking depiction of an evil woman in his Art Gallery, Birmingham. 41 32 . ”, 1876. 3 cm. Birmingham Museums and Art Gallery, Birmingham.
42 33 . The Golden Stairs, 1876-1880. 8 cm. Tate Britain, London. 43 early career is Sidonia von Bork (p. 7), a gouache of 1860 based on Johann Wilhelm Meinhold’s novel Sidonia the Sorceress. This picture owes a double debt to an earlier gouache by Rossetti of Lucrezia Borgia washing her hands after disposing of one of her husbands by poison and to Giulio Romano’s famously sinister portrait of Isabella d’Este, from which Burne-Jones has borrowed the interweaving, linear pattern on the dress that so effectively suggests the web of murderous intrigue spun by the evil Sidonia.