GIOVANNI BATTISTA See also:

• GIOVANNI BATTISTA TIEPOLO (1692-1769)

TIEPOLO (1692-1769)  , See also:

• ITALIAN

Italian painter; was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, and acquired the rudiments of his See also:

• ART

art from Gregorio Lazzarini, and probably from Piazzetta, though` the decisive See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on the formation of his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style was the study of See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo Veronese's sumptuous paintings . When hardly dut of his teens he See also:

• DEVELOPED

developed an extraordinary facility of brushwork, and proved himself, as a See also:

• FRESCO (Ital. for cool, " fresh ")

fresco-painter, a colourist of the first See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, though this See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early mastery of technique made him See also:

• FEE

fee- I quently neglect. See also:

• FORM (Lat. forma)

form and See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . The more solid qualities of Paolo Veronese—See also:

• DEPTH

depth of thought and See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design —are frequently wanting in his See also:

• WORK

work, but he approaches the earlier See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master in richness of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and in the management of difficult effects of See also:

• LIGHTING

lighting . He decorated many Venetian churches and palaces with ceilings and frescoes full of turbulent See also:

• MOVEMENT

movement and See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich colour, extending his operations to the near cities of the mainland and to See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo (See also:

• COLLEONI, BARTOLOMMEO (1400-1475)

Colleoni See also:

• CHAPEL

Chapel) and See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan (See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling at Palazzo Chierici) . In 1750 he proceeded to See also:

• WURZBURG

Wurzburg to paint the magnificent ceilings and frescoes at the See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

archbishop's See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace . From 1753 to about 1763 he worked again at Venice and in the cities of See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north-See also:

• EAST
• EAST, ALFRED (1849- )

east See also:

• ITALY
• ITALY (Italia)

Italy, until he was summoned to See also:

• MADRID

Madrid by See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles III. to paint some frescoes for the royal palace . He died at Madrid in 1769 . He was the last important figure in Venetian art, and at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time the initiator of the See also:

• BAROQUE

baroque See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . See also:

• TIEPOLO, GIOVANNI BATTISTA (1692-1769)

Tiepolo's altarpieces and easel pictures show more clearly even than his frescoes how deeply he was imbued with the spirit of Paolo Veronese, for in these smaller See also:

• WORKS

works he paid more See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to the balance of composition, whilst retaining the luminosity of his colour harmonies . The See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of his works, both in fresco and in See also:

• OILS (adopted from the Fr. oile, mod. huile, Lat. oleum, olive oil)

oils, are to be found in Venice in the churches of S . Aloise, SS . Apostoli, Gesuati, SS .

Giovanni e Paolo, in the Scalzi, and the Scuola del See also:

• CARMINE

Carmine, the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and the Palazzi Labia, Rezzonico, and Quirini-Stampalia, and the See also:

• DOGE

Doge's Palace . Besides the cities already mentioned, See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua, See also:

• UDINE

Udine, See also:

• PARMA

Parma and See also:

• VICENZA

Vicenza boast of See also:

• FINE

fine examples of his work . At the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery are two designs for altarpieces, a " De-position from the See also:

• CROSS

Cross," " See also:

• ESTHER

Esther at the See also:

• THRONE

Throne of See also:

• AHASUERUS (the Latinized form of the Hebrew siSi nte; in LXX. 'AQ rofrgpos, once in Tobit 'Ao o pos)

Ahasuerus," and " The See also:

• MARRIAGE

Marriage of See also:

• MARIE

Marie de Medicis." Two versions of " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ and the Adulteress " are in the collection of Dr L . See also:

• RICHTER, ADRIAN LUDWIG (1803-1884)
• RICHTER, ERNST FRIEDRICH EDUARD (1808–1879)
• RICHTER, EUGEN (1839–1906)
• RICHTER, HANS (1843– )
• RICHTER, JEREMIAS BENJAMIN (1762–1807)
• RICHTER, JOHANN PAUL FRIEDRICH (1763–1825)

Richter . Other easel pictures by Tiepolo are at the Louvre, and at the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin and See also:

• MUNICH (Ger. Munchen)

Munich galleries . His paintings in Madrid belong to the closing years of his See also:

• LIFE

life and show signs of waning See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power . Tiepolo also executed some notable work with the See also:

• ETCHING (Dutch, etsen, to eat)

etching-See also:

• NEEDLE (O. Eng. ncedl; the word appears in various forms in Teutonic languages, Ger. Nadel, Dutch naal, the root being ne-, to sew, cf. Ger. nahen, and probably Lat. nere, to spin, Gr. vi)ats, spinning)

needle, the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list comprising some fifty plates . His two sons, Giovanni Domenico (about 1726–1804) and Lorenzo, did not attain to his excellence . See See also:

• LES

Les Tiepolo, by See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry de Chennevieres (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1898); and Pompeo Molmenti, G . B . Tiepolo (Milan, 1910) .