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"Painters must try and succeed in large scale works capable of pleasing the rich and the nobility because it is they who make the fortunes of artists and not the other sort of people, who cannot buy valuable pictures. And so the painter's spirit must always be reaching out for the sublime, the heroic, the perfect." -
A Venetian painter of outsize drama, Tiepolo seems to straddle the BAROQUE and Rococo, moving from a relatively somber to a much lighter PALETTE. Within his huge theatrical battle scenes and his illusionistic ceiling FRESCOES of heavenly hosts transported on clouds, he had an extraordinary skill at choreographing large numbers of figures, yet his touch was both elegant and energetic in presenting details. He was reputed to be able to paint a picture in less time than it would take another to mix his colors. His frescoes were among the last and most refined of the Italian tradition. But as VENICE had become artistically conservative by the 18th century, when he wished to move beyond the darkness of the Baroque, he usually did so outside of Venice. His frescoes reached a peak in the Kaisersaal Residenz in Wurzburg ( 1751 ). In one room where he painted both ceiling and wall frescoes, The Marriage of Frederick Barbarossa and Beatrice of Burgundy (c. 1751, on the wall) placed an event that had occurred some 500 years earlier in a contemporary setting. Its theatrical illusionism includes carved PUTTI pulling back golden brocade curtains to reveal the marriage ceremony below. Tiepolo's source for much of his work was Cesare Ripa's Iconologia ( 1593 ), a handbook of symbolic images (see EMBLEM BOOK), and he used the same description ("a beautiful naked woman holds the sun aloft ... ") as BERNINI had 100 years earlier for his Time Revealing Truth (1647-52). Tiepolo was working in Spain when he died. A Venetian nobleman wrote, "Letters from Madrid apprise me of the sad loss [of] the famous Venetian painter, the most renowned ... well known in Europe, and the most honored in his own country ... "
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