Italian Rococo Era Painter, 1696-1770 Giovanni Battista Tiepolo was born in Venice on March 5, 1696. His father, who was part owner of a ship, died when Tiepolo was scarcely a year old, but the family was left in comfortable circumstances. As a youth, he was apprenticed to Gregorio Lazzarini, a mediocre but fashionable painter known for his elaborately theatrical, rather grandiose compositions. Tiepolo soon evolved a more spirited style of his own. By the time he was 20, he had exhibited his work independently, and won plaudits, at an exhibition held at the church of S. Rocco. The next year he became a member of the Fraglia, or painters guild. In 1719 he married Cecilia Guardi, whose brother Francesco was to become famous as a painter of the Venetian scene. They had nine children, among them Giovanni Domenico and Lorenzo Baldassare, who were also painters. In the 1720s Tiepolo carried out many large-scale commissions on the northern Italian mainland. Of these the most important is the cycle of Old Testament scenes done for the patriarch of Aquileia, Daniele Dolfin, in the new Archbishop Palace at Udine. Here Tiepolo abandoned the dark hues that had characterized his early style and turned instead to the bright, sparkling colors that were to make him famous.  Related Paintings of Giovanni Battista Tiepolo :. | The Theological Virtues | Anbetung der Heiligen Drei Konige | Portrat des Antonio Riccobono, Fragment | Joseph received the hand of Pharaoh, Central | Apollo and the Continents |
Related Artists:
Osborne, Walter
Irish, 1859-1903 Irish painter. The son of the animal painter William Osborne (1823-1901), he trained in the schools of the Royal Hibernian Academy (1876-81). In 1881 he won the Royal Dublin Society's Taylor scholarship and went to study at the Koninklijk Academie voor Schone Kunsten, Antwerp. Charles Verlat was the professor of painting, and Antwerp was then at the height of its popularity with students from the British Isles. In Antwerp and subsequently in Brittany, Osborne made contact with painters of the Newlyn school and other British naturalists. In Brittany he painted Apple Gathering, Quimperle (1883; Dublin, N.G.), a small greenish-grey picture of a girl in an orchard, which in subject and treatment shows the influence of Jules Bastien-Lepage. Throughout the 1880s Osborne worked in England, joining groups of artists in their search for the ideal naturalist motif. In the autumn of 1884 he was at North Littleton, near Evesham (Heref. & Worcs), where he painted Feeding Chickens in weather so cold that his model, a young peasant girl, nearly fainted. It is carefully drawn but painted with the square-brush technique characteristic of Bastien-Lepage's followers, and is very close to the contemporary work of George Clausen and Edward Stott (1855-1918). At Walberswick in Suffolk he painted October Morning (1885; London, Guildhall A.G.), a carefully studied plein-air work using bright dots of pure colour on a base of beige and grey. During this time Osborne gave careful attention to the showing of his work. He exhibited regularly at the Royal Hibernian Academy in Dublin from 1877 and at the Royal Academy in London from 1886.
Joaquin Mir Trinxet
Spanish , 1873-1940
Leonardo Alenza Y Nieto
b Madrid, 6 Nov 1807; d Madrid, 30 June 1845 Spanish painter and illustrator. He studied at the Real Academia de S Fernando, Madrid, under Juan Antonio Ribera y Fern?ndez and Jos? de Madrazo y Agudo. He worked independently of court circles and achieved some fame but nevertheless died in such poverty that his burial was paid for by friends. He is often described as the last of the followers of Goya, in whose Caprichos and drawings he found inspiration for the genre scenes for which he became best known. Of these scenes of everyday life and customs the more interesting include The Beating (Madrid, Cas?n Buen Retiro) and Galician with Puppets (c. 1835; Madrid, Cas?n Buen Retiro; see SPAIN, fig. 17). Alenza y Nieto's numerous drawings include the illustrations for Alain-Ren? Lesage's Gil Blas (Madrid, 1840), for an edition of the poems of Francisco de Quevedo published by Castello and for the reviews Semanario pintoresco and El Reflejo. The painting Triumph of David