A Companion to Venetian History, 1400-1797
838 massimo favilla, ruggero rugolo, and dulcia meijers away from it, dared to try his luck in the contest for the ceiling of th ...
venetian art, 1600–1797 839 Figure 22.8. Giambattista Piazzetta, Apotheosis of St. Dominic, 1727. Venice, Church of St. John and ...
840 massimo favilla, ruggero rugolo, and dulcia meijers commissioners. a number of the ablest painters of Venice sought their fo ...
venetian art, 1600–1797 841 all worked in this same experimental setting thanks to the bequest of a Venetian aristocrat who died ...
842 massimo favilla, ruggero rugolo, and dulcia meijers male customers. it is worthwhile to note that the several assistants and ...
venetian art, 1600–1797 843 Figure 22.9. rosalba Carriera, Portrait of Caterina Sagredo Barbarigo, 1730s, Dresden, Gemäldegaleri ...
844 massimo favilla, ruggero rugolo, and dulcia meijers instance, the architecture and painted decorations of the church of the ...
venetian art, 1600–1797 845 Figure 22.10. abbondio Stazio and Carpoforo Mazzetti tencalla, Ornamental detail with animal , 1718. ...
846 massimo favilla, ruggero rugolo, and dulcia meijers ceremonies and festivities, or receptions of foreign officials, such as ...
venetian art, 1600–1797 847 and attempted to impose its foreign policy on them. So Venice kept up its appearances. Within this c ...
848 massimo favilla, ruggero rugolo, and dulcia meijers Figure 22.11. antonio Canal, called Canaletto, View of the Grand Canal t ...
venetian art, 1600–1797 849 settled again for good in his home country some nine years later. Canal- etto’s genre had been expor ...
850 massimo favilla, ruggero rugolo, and dulcia meijers ricci.102 With Canaletto in england and no other rivals in his immediate ...
venetian art, 1600–1797 851 Figure 22.12. Francesco Guardi, Capriccio with Venetian Motifs , 1760s, Verona, Museo di Castelvecch ...
852 massimo favilla, ruggero rugolo, and dulcia meijers Pietro Longhi, who introduced a new kind of family and group portrait in ...
venetian art, 1600–1797 853 Upon his return to Venice, Longhi had first produced pastoral and reli- gious scenes, but he had to ...
854 massimo favilla, ruggero rugolo, and dulcia meijers even if it was related to a specific family.110 Pietro Longhi was practi ...
venetian art, 1600–1797 855 Figure 22.13. Pietro Longhi, The Lion’s Stall, 1762, Venice, Fondazione Querini Stampalia. ...
856 massimo favilla, ruggero rugolo, and dulcia meijers reality that his scenes caused a stir.” alessandro also tellingly mentio ...
venetian art, 1600–1797 857 Figure 22.14. Giandomenico tiepolo, Il Mondo Novo , 1791. Venice, Ca’ rezzonico. ...
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