Giovanni Battista Piazzetta (also called Giambattista Piazzetta or Giambattista Valentino Piazzetta) (February 13, 1682 or 1683 – April 28, 1754) was an Italian Rococo painter of religious subjects and genre scenes.
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
Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta's account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703–05, although there is no record by Crespi of formal tutelage. Thanks to Crespi, Carlo Cignani's influence reached Piazzetta. Piazzetta did find inspiration in Crespi's art, in which the chiaroscuro of 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 Gallerie dell'Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Sotto in suGlory of St. Dominic in the Church of 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.
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
St Anthony of Padua, St Gaetano, and Guardian Angel
^Piazzetta, Giovanni Battista. "Portrait of Giulia Lama". Thyssen-Bornemisza Museum. Retrieved 5 April 2020.
^Piazzetta, Giovanni Battista. "The Sacrifice of Isaac". Thyssen-Bornemisza Museum. Retrieved 5 April 2020.
^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)
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.
January 29, 2023
giovanni, battista, piazzetta, also, called, giambattista, piazzetta, giambattista, valentino, piazzetta, february, 1682, 1683, april, 1754, italian, rococo, painter, religious, subjects, genre, scenes, self, portrait, 1730s, charcoal, heightened, with, white,. Giovanni Battista Piazzetta also called Giambattista Piazzetta or Giambattista Valentino Piazzetta February 13 1682 or 1683 April 28 1754 was an Italian Rococo painter of religious subjects and genre scenes 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 Contents 1 Biography 2 Selected works 3 Gallery 4 Notes 5 ReferencesBiography EditPiazzetta was born in Venice the son of a sculptor Giacomo Piazzetta from whom he had early training in wood carving Starting in 1697 he studied with the painter Antonio Molinari By Piazzetta s account he studied under Giuseppe Maria Crespi while living in Bologna in 1703 05 although there is no record by Crespi of formal tutelage Thanks to Crespi Carlo Cignani s influence reached Piazzetta Piazzetta did find inspiration in Crespi s art in which the chiaroscuro of 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 Gallerie dell Accademia Venice He brought similar elusiveness to works of a religious nature such as the Sotto in su Glory of St Dominic in the Church of 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 Accademia di Belle Arti di Venezia and he devoted the last few years of his life to teaching He was elected a member of the Bolognese Accademia Clementina in 1727 Among the painters in his studio were Domenico Maggiotto 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 Edit 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 Edit Ecstasy of St Francis St Anthony of Padua St Gaetano and Guardian Angel Three Dominican Saints Gesuati Venice Glory of St Dominic Santi Giovanni e Paolo Venice Young woman with Dog Young Ensign Peasant Girl Asleep Shepherd Boy The Death of Darius Rebecca at the Well The Sacrifice of Isaac Beggar boy 1725 30 oil on canvas Art Institute of ChicagoNotes Edit Spike JT p181 Carlo Goldoni e Venezia nel secolo XVIII 1882 Ferdinando Galanti page 400 Lodi monografia storico artistica by Felice De Angeli Andrea Timolati published in Milan 1877 page 134 originally Santa Maria della Fava Venice and now National Gallery of Art Washington DC 1 Piazzetta Giovanni Battista Portrait of Giulia Lama Thyssen Bornemisza Museum Retrieved 5 April 2020 Piazzetta Giovanni Battista The Sacrifice of Isaac Thyssen Bornemisza Museum Retrieved 5 April 2020 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 Edit Wikimedia Commons has media related to Giovanni Battista Piazzetta Encyclopaedia 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 Retrieved from https en wikipedia org w index php title Giovanni Battista Piazzetta amp oldid 1133148060, wikipedia, wiki, book, 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