Books : Tiepolo and the Pictorial Intelligence
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Binding: Paperback
Dewey Decimal Number: 709
EAN: 9780300068177
ISBN: 0300068174
Label: Yale University Press
Manufacturer: Yale University Press
Number Of Items: 1
Number Of Pages: 196
Publication Date: July 24, 1996
Publisher: Yale University Press
Sales Rank: 579543
Studio: Yale University Press
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This study by two brilliant and eminently readable art historians looks at Tiepolo`s works as an example of the specifically pictorial as distinguished from the verbal intelligence. Alpers and Baxandall show that Tiepolo`s greatness lies not in stories told, or in meanings pursued, but in the use of his visual medium-drawing, painting, and natural lighting. They conclude with a study of his best and biggest painting, The Four Continents at Wrzburg, newly photographed for this book. The book ends with an annotated gazetteer for travellers, listing those Tiepolo paintings that can still be seen in the places and conditions for which he painted them.
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He favored an effect of light by skillfully contrasting finely unbroken and unmixed pigments with dully subdued colors, so that a golden ochre would bring out latent blue in a grey field or latent tawny in a muddy buff one. He also tended toward Veronese-type clouds to lighten and shape vaults with cumulus masses or stratus bands, as in his "Discovery of the true cross"; dogs to colorkey Cleopatra in "The banquet with Antony" and graphic and tonal range complexities in "The meeting of Antony and Cleopatra"; and poles to finetune viewer attention, as with his Santa Maria dei Gesuati ceiling frescoed pike to increase interest in the figure of St Dominic. Against expectations at the time about dramatically interacting figures, he parallel played arms, hands and heads, without bringing angled faces and pointing fingers together into any interpersonal contact, as Picassolike people deconstructed and divided into bodyparts. Also against usual practice, his painting was more caught up in a Giovanni Benedetto Castiglione-type showing and beholding than with discovery, as with "Adoration of the Magi" and "Institution of the rosary" handed down from heaven. The Veronese-style asymmetry of his figures lounging and lunging around picture edges, the princess off-center with her escort, the riverbank almost half-empty of figures, and the unexpected scale, with a miniature Miriam and a sliver of a dog, aggravated one critic into sawing "The finding of Moses" in two, with the severed part becoming ... Read More
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