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Episodio de la historia de la reina de Palmira, que formó parte de la decoración de un salón en el Palacio Zenobio de Venecia, con escenas de la vida de la reina, cuyo nombre era el de la familia. Zenobia, reina de Palmira, mantuvo la independencia de su reino y gobernó frente al acoso de Roma entre los años 262 y 272 d. C., cuando fue derrotada y hecha prisionera por el emperador Aureliano.
This is a sketch for a no-longer extant painting on canvas intended to decorate a ceiling in a building of the imperial court of Russia, whose memory is preserved in an engraving made by Giambattista´s youngest son Lorenzo. The engraving forms a set with another three, two of which were also made by Lorenzo, on the basis of original works by his father, as part of the same commission. The en
This painting presents an event mentioned in the book of Genesis (18, 1. 19). Giambattista Tiepolo had depicted this subject earlier in a painting from the series he painted for the palace of the Archbishop of Udine in 1726. Here, however, it is presented in a more modern manner, with a contained equilibrium among all parts of the composition and a harmonious coexistence of neoclassical values wit
This majestic image was part of a cycle of seven altarpieces commissioned in 1767 for the new royal church of San Pascual Bailón at Aranjuez, founded by Charles III in the same year. The altarpieces comprised the entire pictorial decoration of this Alcantarine Franciscan church, which was built in an austere classical style. The subjects of the altarpieces reflected some of the most importa
This is a fragment of Saint Joseph with the infant Christ, painted for the convent church of San Pascual in Aranjuez, and now in Detroit. Although Giambattista required the help of his son Domenico to undertake the project, this small angel seems to be entirely painted by his own hand.
Saint Anthony of Padua (1195-1231) wears a Franciscan habit and meditates before a book over which the Christ Child appears. This is one of the miracles of that saint´s tradition. The spray of lilies in the foreground is one of his iconographical symbols, and is accompanied here by the basket that symbolizes the alms on which that saint lived. This work was designed for an altar in the church of S
A depiction of a miracle in the life of Saint Francis of Assisi that took place in 1224 during the Celebration in Praise of the Holy Cross. When the saint withdrew to pray, he received the stigmata from a seraph: the same wounds suffered by Christ on the Cross. An angel holds him so that his body doesn´t collapse in ecstasy. The varied blue tones and their contrast with the very dark palette used
A preparatory sketch for the frontispiece of Paolo Antonio Paoli’s book on the classical ruins of Paestum, which was dedicated to Charles III. Although it was published in 1784, the texts and prints had been prepared some time before by count Felice Gazzola, an amateur archaeologist. The bust of Charles III, shown in the guise of a Roman emperor, is placed by the genius of Fame on a pedestal surro
Traditionally, this work was considered a preparatory sketch for the frescoes on the dome of the collegiate church at La Granja. In 1768 Charles III initiated the decoration of that church, and its dome appears in architect Francesco Sabatini’s drawings with eight spaces designated for pictorial scenes. Spanish painters Mariano Salvador Maella (1739-1819) and Francisco Bayeu y Subías (1734-
