Giovanni Battista Piazzetta

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Giambattista Piazzetta
)
Self portrait (1730s),Charcoal heightened with White on green-grey paper. In the collection of the Thyssen-Bornemisza Museum, Madrid
The Assumption of Mary (1735), oil on canvas. In the collection of the Louvre

Giovanni Battista Piazzetta (also called Giambattista Piazzetta or Giambattista Valentino Piazzetta) (February 13, 1682 or 1683 – April 28, 1754) was an

genre scenes
.

Biography

Piazzetta was born in

Caravaggio was transformed into an idiom of graceful charm in his pictures of common folk. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino
.

Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in Venetian late-Baroque/Rococo, Ricci and Tiepolo. Yet Piazzeta's range of topics was broader than that of these artists; Tiepolo, for example, never painted genre paintings and restricted himself to grand history and religious altarpieces. Ricci and Tiepolo had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta's darker and more intimate depictions. Nonetheless, Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo's palette influenced Piazzetta in his later years.

The Soothsayer, Accademia, Venice

Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer (1740, now in

Santi Giovanni e Paolo
.

Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced engravings.

In 1750 Piazzetta became the first director of the newly founded

Francesco Dagiu (il Capella), Johann Heinrich Tischbein, Egidio Dall'Oglio, and Antonio Marinetti.[1] The engraver Marco Pitteri was affiliated with his studio, and engraved many of his works.[2] Among younger painters who emulated his style are Giovanni Battista Pissati,[3] Giulia Lama, Federico Bencovich, and Francesco Polazzo
(1683–1753). He died in Venice on April 28, 1754.

Selected works

Idyll at Coast (1739-1740)
  • St.James Led to Matyrdom (1717)
    Chiesa di San Stae
    , Venice.
  • Madonna and child appearing to St Philip Neri (1725-7)[4]
  • Glory of St.Dominic (1725–1727) Chiesa di Santi Giovanni e Paolo, Venice.
  • Ecstasy of St.Francis (1732)
  • Assumption (1735)
  • St. Margaret of Cortona (1737) National Gallery Art, Washington DC [2]
  • Sacrifice of Isaac, (after 1735, unfinished) [3]
  • Rebecca at the well, c 1740
  • Fortune Teller(1740)
  • The Pastoral (1739–41)
  • The Death of Darius (1746)
  • Peasant Girl (1720–22)
  • Portrait of Giulia Lama(c.1715-1720) Thyssen-Bornemisza Museum. Madrid.[5]
  • The Sacrifice of Isaac (c.1715) Thyssen-Bornemisza Museum on loan at The MNAC, Barcelona.[6]
  • Portrait of a Young Woman in Profile with a Mask in her Right Hand (c.1720-1730) Carmen Thyssen-Bornemisza Collection on loan at The Thyssen-Bornemisza Museum, Madrid.[7]

Gallery

  • Ecstasy of St Francis
    Ecstasy of St Francis
  • St Anthony of Padua, St Gaetano, and Guardian Angel
    St Anthony of Padua, St Gaetano, and Guardian Angel
  • Three Dominican Saints, Gesuati, Venice
    Three Dominican Saints, Gesuati, Venice
  • Glory of St Dominic, Santi Giovanni e Paolo, Venice
    Glory of St Dominic, Santi Giovanni e Paolo, Venice
  • Young woman with Dog
    Young woman with Dog
  • Young Ensign
    Young Ensign
  • Peasant Girl Asleep
    Peasant Girl Asleep
  • Shepherd Boy
    Shepherd Boy
  • The Death of Darius
    The Death of Darius
  • Rebecca at the Well
    Rebecca at the Well
  • The Sacrifice of Isaac
    The Sacrifice of Isaac
  • Beggar boy (1725–30), oil on canvas. Art Institute of Chicago
    Beggar boy (1725–30), oil on canvas. Art Institute of Chicago

Notes

  1. ^ Spike, JT. p181
  2. ^ Carlo Goldoni e Venezia nel secolo XVIII.(1882) Ferdinando Galanti, page 400.
  3. ^ Lodi monografia storico-artistica, by Felice De Angeli, Andrea Timolati, published in Milan (1877), page 134.
  4. ^ originally Santa Maria della Fava, Venice, and now National Gallery of Art, Washington DC.[1]
  5. ^ Piazzetta, Giovanni Battista. "Portrait of Giulia Lama". Thyssen-Bornemisza Museum. Retrieved 5 April 2020.
  6. ^ Piazzetta, Giovanni Battista. "The Sacrifice of Isaac". Thyssen-Bornemisza Museum. Retrieved 5 April 2020.
  7. ^ Piazzetta, Giovanni Battista. "Portrait of a Young Woman in Profile with a Mask in her Right Hand". Thyssen-Bornemisza Museum. Retrieved 5 April 2020.

References

Wikimedia Commons has media related to Giovanni Battista Piazzetta.
  • Encyclopædia Britannica (1990)
  • Britannica online
  • Wittkower, Rudolf (1993). "19". In Pelican History of Art (ed.). Art and Architecture Italy, 1600-1750. 1980. Penguin Books Ltd. pp. 481–82.
  • John T Spike (1986). Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy. p. 181.
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