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The Crowning with Thorns
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
The Crowning with Thorns
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Giandomenico Tiepolo was the elder of Giambattista’s two artist sons, and his closest collaborator. While training with his father prepared him to assist with his mural decorations, Giandomenico also established himself as an independent painter, with his own commissions. In 1762 he accompanied his father to Spain, where the latter had been commissioned to paint a fresco on the dome of the Throne

The Venetian Charlatan
Oil on canvas. Ca. 1765
Tiepolo, Giovanni Domenico
The Venetian Charlatan
Oil on canvas. Ca. 1765
Tiepolo, Giovanni Domenico

These two paintings (P7804 and P7805) are part of a series on similar subjects, yet they stand out among Giandomenico`s work. These works are small depictions of everyday life in Venice, exquisitely rendered with a very agile touch that reflects the technical skills Giandomenico learnt from his father. This genre work is infrequent in Giandomenico`s oeuvre. In Spain the only known works of this so

Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

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

The Crucifixion
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
The Crucifixion
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P00355 to P00362. They came from the Convent of San Felipe Neri in Madrid, from where they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions laid down in the contract (if one ever existed) by the secular clerics of San Felipe Neri in Madrid. There

The Immaculate Conception
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
The Immaculate Conception
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

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

Maskers at the Mondo Nuovo
Oil on canvas. Ca. 1765
Tiepolo, Giovanni Domenico
Maskers at the Mondo Nuovo
Oil on canvas. Ca. 1765
Tiepolo, Giovanni Domenico

These two paintings (P7804 and P7805) are part of a series on similar subjects, yet they stand out among Giandomenico`s work. These works are small depictions of everyday life in Venice, exquisitely rendered with a very agile touch that reflects the technical skills Giandomenico learnt from his father. This genre work is infrequent in Giandomenico`s oeuvre. In Spain the only known works of this so

Queen Zenobia before the Emperor Aurelian
Oil on canvas. Ca. 1717
Tiepolo, Giovanni Battista
Queen Zenobia before the Emperor Aurelian
Oil on canvas. Ca. 1717
Tiepolo, Giovanni Battista

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.

Christ falls on the Way to Calvary
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
Christ falls on the Way to Calvary
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Dressed in white with the Crown of Thorns, Jesus has fallen under the weight of the Cross, on the path to Calvary. Behind him are Simon of Cyrene, who helps him with the Cross, and the Holy Women, one of whom carries the sign with the inscription INRI with will later be placed on the Cross; as well as a group of people who accompany Jesus to mount Golgotha, where he is to be crucified. Golgotha is

View of Venice from the Island of San Giorgio
Oil on canvas. 1697
Vanvitelli, Gaspare
View of Venice from the Island of San Giorgio
Oil on canvas. 1697
Vanvitelli, Gaspare

Born in Holland, van Wittel received his early training in Utrecht. He settled in Italy in 1674, where he became known as Vanvitelli and contributed decisively to the development of the veduta (view painting). This view of the Piazzetta di S. Marco and the Palazzo Ducale proved enormously influential.

Abraham and the three Angels
Oil on canvas. Ca. 1770
Tiepolo, Giovanni Battista
Abraham and the three Angels
Oil on canvas. Ca. 1770
Tiepolo, Giovanni Battista

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

Burial of Christ
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
Burial of Christ
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P00355 to P00362. They came from the Convent of San Felipe Neri in Madrid, from where they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions laid down in the contract (if one ever existed) by the secular clerics of San Felipe Neri in Madrid. There

Moses and the burning Bush
Bronze. 1725
Cateni, Giovanni Camillo
Moses and the burning Bush
Bronze. 1725
Cateni, Giovanni Camillo

This sculpture depicts the biblical passage in which God appears to Moses in the form of a burning bush and tells tells him that he will free the Israelites (Exodus 3: 1-4). It is one of a group of twelve sculptures on religious subjects commissioned by Princess Anna Maria Luisa de’Medici and executed in typically Florentine Baroque style by the leading bronze sculptors of the day. Signed and date

Female Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)
Female Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)

Free-standing wax sculpture was a particularly important genre in 18th-century Bologna and artists aimed to produce impressively lifelike, almost hyper-realist effects. In order to do so they used real hair, glass balls for the eyes, bone for the teeth and fabric and metal for the clothes and accessories. The frames for this bust and its pair are 18th-century in date although later than the sculpt

Male Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)
Male Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)

Wax sculpture allowed for the creation of extremely precise technical details that produced an intense sensation of reality. Scandellari was one of the most important practitioners of this technique in Bologna. This pair might be the two wax portraits recorded as made for a Spanish aristocrat in Madrid.

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