Here Giandomenico appears to allude to the revolutionary message then arriving from France. This was originally a ceiling and, instead of his father’s mythologies, Giandomenico painted a theme of limpid, natural simplicity. The eight carved boxwood armchairs formerly belonged to the Correr family and were traditionally attributed to Andrea Brustolon, but considering the inferior quality of the carving are more likely to be the work of his workshop or of a contemporary imitator. The centerpiece of the ceiling, painted by Giovanni Battista Crosato, depicts Apolloriding his carriage bet… In this fresco, Giandomenico overturns the classic conception of representation; the scene does not present itself to the viewer but paradoxically denies itself to our scrutiny, hiding that very show which had drawn the crowd. The imposing walnut bureau-trumeau is unique for its size, workmanship and state of conservation, and was perhaps original to the palace. In 1936 it was converted into a museum to house perhaps one of the finest collections of 18th-century fine and decorative art in the world. In the frescoes in this room, innumerable Punchinellos have suddenly emerged from the entrails of the earth up a ladder. The door between the bureau-trumeau and the fireplace leads to a narrow passageway displaying white porcelain groups produced by the Venetian manufactory of Geminiano Cozzi and the one operated by Pasquale Antonibon in Nove. They perform the same actions as the nobility, or mimic the protagonists of the fairytales and mythologies described by Giambattista Tiepolo. The Royal Palace, the neoclassical rooms and Antonio Canova, the History of Venice and the Picture-gallery, Ca' Rezzonico The first work in front of the door shows a scene from Torquato Tasso’s poem Jerusalem Delivered. The splendid figures of the allegories stand out from a sky of crystalline luminosity. The chapel was in fact dedicated in 1758 to the blessed Jerome Miani, the founder of the order of the Somaschi to which the painter’s younger brother, Giuseppe Maria, belonged. The painting has a consistently light colour scheme with grey/silvery overtones which emphasise the iridescent orange of Virtue. In 1936, Ca’ Rezzonico was converted into a museum to house one of the finest collections of 18th-century fine and decorative art in the world. Read our Privacy and Cookies policy to find out more. The International Gallery of Modern art houses masterpieces such as works by Medardo Rosso, Rodin, Kandinsky, Klee... Glass Museum This very circumstance freed the painter from thematic and figurative conventions and allowed him to follow his own intimate nature, a propensity to sarcastic description of the world around him. By clicking "OK", closing the banner or interacting with any element of the site, you will accept the use of cookies. A masterpiece of Gothic architecture, is the very symbol of Venice, Museo Correr Housed in Burano, the museum exhibits rare and valuable specimens of Venetian lace, from the 16th to the 20th century, Carlo Goldoni's house An important painting in this room, high up on the wall to the left of the entrance, is the Portrait of the Architect Bartolomeo Ferracina, by Alessandro Longhi, the son of Pietro Longhi and the most famous late 18th-century Venetian portrait painter. The palace of the Ca’ Rezzonico was built in 1649 for one of Venice’s grandest families. In contrast with the show which is denied to the viewer in the New World, a swarming multitude of figures is offered up to us here. › OK       › More information, Photographic Archive Civic Museums of Venice. The frescoes decorating the small chapel were probably the first ones painted in the villa by Giandomenico Tiepolo. Visit the website of Civic Museums of Venice. C.F. Ca' Rezzonico ... Giandomenico Tiepolo. For over 500 years it has marked the life, the history and the continual passage of time of Venice, Visitmuve Doge's Palace Housed in Murano, the museum hosts the most extensive historical collection of Murano glasses, Natural History Museum Comprising furniture, painting and decorative objects the interiors evoke the splendour and decadence of the period, complemented by a number of works by Tintoretto and Francesco Guardi as well as frescoes by Giambattista Tiepolo. It’s the house where Carlo Goldoni was born and It contains a small museum dedicated to him, and a library of theatrical studies, Clock Tower For over 500 years it has marked the life, the history and the continual passage of time of Venice, Visitmuve Ca' Pesaro In the last years of his life, Giandomenico was literally obsessed by this figure, whom he painted on the walls of his house and in dozens of drawings which were then collected in an album. An evocative and engaging layout for discover the secrets of nature and living beings, Mocenigo Palace In this case too Tiepolo was evidently greatly inspired by Paolo Veronese’s use of bright colours, but the pungent sensuality of the figures and the free, flowing application of the paint is wholly 18th-century in character. It is impossible not to see in this painting an allusion to the empirical culture of the Enlightenment, where the sky is the space of birds and not the home of ancient divinities. This modelled canvas shows Nobility and Virtue defeating Wickedness.Unlike the frescoes in the other rooms of the lower piano nobile, this work was not painted for the palace, but was created between 1744 and 1745 for Pietro Barbarigo for his palace in Santa Maria del Giglio. e P.IVA 03842230272, This site uses also third party cookies. Stripped in 1906 for sale abroad, they were purchased by the town of Venice and transferred in 1936 to Ca’Rezzonico. It’s the house where Carlo Goldoni was born and It contains a small museum dedicated to him, and a library of theatrical studies, Clock Tower The paintings were completed over a fairly long period, between 1759 and 1797, and undoubtedly constitute one of the most fascinating, singular bodies of work in the whole of Venetian painting. Among precious historical furnishings, it houses important works of the XVIII century Venice. They have fun on the swing, flirt with the women during carnival, watch the tumblers’ shows, carouse and get drunk, join the promenade; in one of the monochromes they even chase away a fashionably-dressed young lady. After many years he gave them a new monumental form and reinterpreted them with a more mature eye which scrutinised his contemporaries with ruthless irony. › OK       › More information, Photographic Archive Civic Museums of Venice. In the two minor scenes, the painter presents another theme which is particularly dear to him, that of the promenade and the dance. We are still in a figurative dimension, where both style and theme are closely linked to Giandomenico’s father’s world. Doge's Palace In these rooms you can admire the fresoces painted by Giandomenico Tiepolo in the family villa in Zianigo. The Promenade in the villa conveys an involuntarily comic effect: the sophisticated elegance of the clothes strikes a false note when they are seen on the skinny, scraggy limbs of personages who again turn their backs on us, making a stage exit. Museum of Textiles and Costumes with the itineraries dedicated to perfume, Fortuny Palace Museum of Textiles and Costumes with the itineraries dedicated to perfume, Fortuny Palace Besides the altarpiece with the Madonna and Child adored by St. Jerome Miani and St. James the Apostle, Giandomenico painted two monochromes of the saint’s life at either side. Read our Privacy and Cookies policy to find out more. This time he adds the figure of the elegant page bearing the train of Nobility, who is perhaps the portrait of his son Giuseppe Maria. Here they lose that chivalrous, fashionable context typical of Giandomenico’s early small pictures. In this room you can admire the third of Giambattista Tiepolo’s four ceilings in Ca’ Rezzonico. In this room you can admire the third of Giambattista Tiepolo’s four ceilings in Ca’ Rezzonico. In these rooms you can admire the fresoces painted by Giandomenico Tiepolo in the family villa in Zianigo. The main character is Punchinello, the Commedia dell’Arte character who embodies the popular soul in an eternal parody of Man and his weaknesses. A masterpiece of Gothic architecture, is the very symbol of Venice, Museo Correr It may be a coincidence, but the date of the completion of the frescoes was 1797, the fatal year of the fall of the Venetian Republic. The largest and most impressive is the grand salon or ballroom, fourteen by twenty-four meters in size, at the rear of the building. The subject is connected to the grand Baroque tradition of historical painting; Giandomenico however interprets it with an ungrammatical expressiveness which corrodes its solemn, sophisticated effect. It is datable to the mid-18th  century. The Palazzo's ceremonial rooms are located on the piano nobile. Here they were hung in small rooms which wherever possible reproduce their original location. The New World shows a crowd of people thronging around the huckster in his booth with the magic lantern, called in fact “New World” for the images of exotic places shown inside it. C.F. We are not looking at a scene, rather at someone who in turn is watching what is happening. This is what seems to be suggested by “The New World”, the fresco painted in 1791 by Giandomenico Tiepolo for his family’s villa at Zianigo, now hosted at Ca’ Rezzonico, the Museum of 1700’s Venice. Stripped in 1906 for sale abroad, they were purchased by the town of Venice and transferred in 1936 to Ca’Rezzonico. The Royal Palace, the neoclassical rooms and Antonio Canova, the History of Venice and the Picture-gallery, Ca' Rezzonico The future imagined by the painter is tragic-comic, terrifying and topical in its pessimism. In this Commedia dell’Arte character the artist found the perfect incarnation of that irreverent, sarcastic spirit which was his own natural disposition. His particular nature is fully expressed on the left of the back wall, in the snapshot-like image of the Hawk Swooping onto the Flock of Sparrows in Flight. The International Gallery of Modern art houses masterpieces such as works by Medardo Rosso, Rodin, Kandinsky, Klee... Glass Museum Visit the gothic Palazzo Pesaro degli Orfei located in Campo San Beneto and transformed by Mariano Fortuny into his private studio, Lace Museum An evocative and engaging layout for discover the secrets of nature and living beings, Mocenigo Palace It is a fine example of Venetian Baroque furniture, and its massy, monumental forms and lion-paw feet suggest that it was probably made in the late 17th or the early 18th century. Housed in Burano, the museum exhibits rare and valuable specimens of Venetian lace, from the 16th to the 20th century, Carlo Goldoni's house Giandomenico Tiepolo emerged as an intellectual and artistic giant in a tormented, dramatic era of European history with the great closing masterpiece of all eighteenth-century art, the mythological, historical scenes and those of Pulcinella, formerly at the Tiepolo family house (villa) at Zianigo and now in Ca' Rezzonico. By clicking "OK", closing the banner or interacting with any element of the site, you will accept the use of cookies. Giovanni Domenico Tiepolo (August 30, 1727 – March 3, 1804) was an Italian painter and printmaker in etching. “The New World”, by Giandomenico Tiepolo. The museum also holds a collection of Flemish tapestries, Italian sculpture and porcelain. Domenico was born in Venice, studied under his … Among precious historical furnishings, it houses important works of the XVIII century Venice. He was the son of artist Giovanni Battista Tiepolo and elder brother of Lorenzo Baldissera Tiepolo. This amusement attracted not only children as was traditional, but the whole of society: common people, peasants, the middle classes; here they are all depicted lifesize from the rear in a single great anti-portrait. This room, created by Massari, is of double height, and appears even higher because of the trompe l'oeil architecture painted on the walls and ceiling by Girolamo Mengozzi Colonna (not by Pietro Visconti, as long believed). The frescoes in the next room repropose themes already painted by Giandomenico Tiepolo in his youth in the guest quarters of the villa Valmarana. The Punchinello (or Punch) Room, which is actually a proper bed-chamber, was the last one to be painted by Giandomenico Tiepolo, and it is perhaps the most famous of the whole cycle. Giovanni Domenico Tiepolo (August 30, 1727 – March 3, 1804) was an Italian painter and printmaker in etching. Venezia, Ca' Rezzonico - Museo del Settecento Veneziano, Ridotto of Palazzo Dandolo at San Moisè, 1746-1750, The Grand Canal from Palazzo Balbi towards the Rialto, 1720-1723, Venezia, Ca' Rezzonico - Museo del Settecento Veneziano Villa di Zianigo - Camera dei Pulcinella, Venezia, Ca' Rezzonico - Museo del Settecento Veneziano, Portego dei Dipinti. He contrasts the fatuous New World with another brand-new world, a world populated with irreverent, rough people, a world of free, equal individuals. He was the son of artist Giovanni Battista Tiepolo and elder brother of Lorenzo Baldissera Tiepolo. They are works painted not for a client but for the artist and his family’s own pleasure, in the private context of their home. In this work, Tiepolo goes back to an allegorical theme he had already used various times for his noble patrons. In fact, Ira and I might prefer his more casual work than the brilliant ceiling frescoes that were the father’s specialty. L'altalena dei Pulcinella, 1783. detached fresco, 200 cm x 170 cm. Visit the website of Civic Museums of Venice. © Fondazione Musei Civici di Venezia Following his propensity for concreteness and close observation of reality, Giandomenico interpreted the two miraculous events as moments in the life of a seminary, a life veiled with melancholic squalor, spare and frugal, where there is no space for miracles. Ca' Pesaro Visit the gothic Palazzo Pesaro degli Orfei located in Campo San Beneto and transformed by Mariano Fortuny into his private studio, Lace Museum The large eight-legged billiard table with its green felt-covered top in the middle of the room is particularly interesting. This album has since been dismantled and its single sheets have been scattered over various public and private collections. Later it was removed by his heirs and purchased in 1934 by the Venice Town Council to be exhibited in this room. © Fondazione Musei Civici di Venezia Unlike the frescoes in the other rooms of the lower piano nobile, this work was not painted for the palace, but was created between 1744 and 1745 for Pietro Barbarigo for his palace in Santa Maria del Giglio. Here are some frescoes that the son painted in the family house. e P.IVA 03842230272, This site uses also third party cookies. The son of famed artist Gianbatista is talented in his own right. This modelled canvas shows Nobility and Virtue defeating Wickedness. The furniture in this room is of different origins and high artistic value. It shows Rinaldo Abandoning the Garden of Armida, and was formerly on the ground floor of the villa of Zianigo. Giandomenico Tiepolo at Ca’ Rezzonico. Housed in Murano, the museum hosts the most extensive historical collection of Murano glasses, Natural History Museum Here they were hung in small rooms …