Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of Giambattista Tiepolo 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
30608		Abraham and the Angels	mk68 Oil on canvas Venice,Confraternity of San Rocco c.1732 Italy
51258		Allegory of the Planets and Continents	1752 Oil on canvas, 185,4 x 139,4 cm
51741		Detail of the martyrdom of Saint John of Bergamo	nn09 1743 Oil on canvas
26904		Details from The Triumph of Marius	mk52
30293		Details of The Death of Hyacinthus	nn05 A god plagued by dreadful guilt
30294		Details of The Death of Hyacinthus	nn05 a sport with deadly balls
30295		Details of The Death of Hyacinthus	nn05 Count Wilhelm ruins his reputation
30296		Details of The Death of Hyacinthus	nn05 An enlightened despot
32562		Giambattista	mk79 About 1740
39447		Hl. Thekla erlost Este of the plague	mk148 1759 for the cathedral of Este prepared was freed in accordance with delivery thanks to the intercession of the holy the city 1638 of the plague
45425		Muse most par Giambattista Tiepolo the last Abendmabl	mk186 around 1745-50 you Louvre
30655		Pulcinella in Love	mk68 Venice,Ca'Rezzonico Museum 1797
32541		Recreation by our Gallery	mk79
32599		Recreation by our Gallery	mk79
32607		Recreation by our Gallery	mk79 About 1742-1745
32608		Recreation by our Gallery	mk79 About 1745
32609		Recreation by our Gallery	mk79 About 1742-1745
32610		Recreation by our Gallery	mk79 About 1742-1745
32586		Recreation by our Gallery 02	mk79 About 1746
87050		Saint Tecla at Este	oil on canvas, 1759, cyf
43660		St James the Greater Conquering the Moors	1749-50 Oil on canvas, 317 x 163 cm
45436		The banquet of the Kleopatra	mk186 1743/44 Melbourne nationally Gallery of Victoria
45643		The banquet of the Klleopatra	mk186 1747-50 Wenedig
30292		The Death of Hyacinthus	nn05 1752-1753 Tennis with Apollo
26903		The Triumph of Marius	mk52 1729 Oil on canvas 5.6x3.3cm Metropolitan Museum of Art,New York

Giambattista Tiepolo

1696-1770 Italian painter, master of Venetian school. Tiepolo was famous in his own lifetime as a superb painter in fresco and a brilliant draftsman. A highly inventive artist, he could create spectacular effects in difficult sites, from the narrow gallery at the patriarchal palace at Udine in the mid-1720s to the vast staircase ceiling in the Residenz at Werzburg in the early 1750s. Contemporaries recognized his spirited, dynamic approach to subject matter and his frankly sensuous manner of painting. Tiepolo is comparable in his restless energy and imaginative power to Peter Paul Rubens, and essentially he worked with a similar baroque language of myth, allegory, and history, which he infused with a sense of freshness and modernity. His approach to religious art is characterized by candor and naturalism, while he was responsive to the different concerns of patrons and viewers at a time when the church was faced with new kinds of devotion and criticism. With the advent of neoclassicism, Tiepolo's art fell from favor: In an age that prized archaeological correctness, rationality, and ideals of improvement, his witty, Veronese-inspired conception of historical or classical subjects seemed frivolous, while his visually seductive qualities were seen as inimical to the serious intellectual aims of the new art. Nevertheless, his drawings and oil sketches continued to appeal to collectors, including Antonio Canova. The son of a Venetian shipping merchant, Tiepolo was apprenticed in 1710 to Gregorio Lazzarini (1655C1730), an artist of international reputation patronized by prominent Venetian families. Before becoming an independent master, he worked in the household of Doge Giovanni Corner; members of the Corner family were to be his most steadfast and liberal patrons. Lazzarini encouraged his pupils to study Venetian sixteenth-century art, and Tiepolo made drawings of some famous works for publication in Domenico Lovisa's Gran Teatro di Venezia of 1717. His early involvement with the thriving Venetian engraving and publishing world was renewed in 1724 when he made drawings of antique sculpture as illustrations for Scipione Maffei's Verona Illustrata, an experience that gave Tiepolo an imaginative empathy with fragmentary antique remains, which recur in his drawings, etchings, and paintings. As well as studying the art of the past, Tiepolo looked to the tenebrism of Federico Bencovich (1677C1753) and the realism and monumentality of Giovanni Battista Piazzetta (1682C1754). In 1719 Tiepolo married Cecilia Guardi, with whom he was to have nine children. By then, the artist was working for a network of mercantile and noble patrons on religious and secular subjects.

All the Alma Tadema's Oil Paintings

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