Giovanni Battista Tiepolo, ジョヴァンニ・バッティスタ・ティエポロ

Tiepolo

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ジョヴァンニ・バッティスタ・ティエポロ（Giovanni Battista Tiepolo, 1696年3月5日 - 1770年3月27日）は、ルネサンス最後期のイタリアの画家。

Tiepolo's Apotheosis of Spain in the royal palace of Madrid
本名はジャンバッティスタ・ティエポロ（Giambattista Tiepolo）。彼は18世紀のイタリアを代表する偉大な画家であり、ルネサンス期の美術絵画の伝統を締めくくる最後の巨匠である。生前はヨーロッパ全土で名声の極みを迎えたが、没後、新古典主義の台頭で急速にその評価は凋落した。
1696年、ヴェネチアに生まれ、徒弟時代は歴史画の大家の一人であるグレゴリオ・ラッザリーニに師事する。ティエポロは稀代のフレスコ画の名手であり、瑞々しく壮麗な作風は底抜けに明るくきらびやかである。宮殿や貴族の館を彩る天井画は下方から見上げる仰視法を取り入れ、イリュージョンの効果を完璧なものとしている。 1770年3月27日、Madridで死去。
代表作

天井画　オリュンポス山と四大陸の寓意（ドイツ、ヴェルツブルク司教館）
太陽神の凱旋車の疾走（1740）（ミラノ、パラッツオ・クレリチ）
ヴィーナスと時の寓意（ロンドン、ナショナルギャラリー）

While Tiepolo is considered the end of a line of olympian Venetian painters, his style differs much from that of Giorgione, Titian, Veronese, and Tintoretto. Like Titian and Ricci, Tiepolo was renowned and painted for royalty outside of the island city. Within three decades of Tiepolo's death, the world outside Venice would overcome the Republic, and La Serenissima would disintegrate after a few volleys of Napoleonic grapeshot.
In style, Tiepolo has more affinity with Ricci, Piazzetta, and Federico Bencovich in his most fluid elaboration. He is a shadowless Rubens. His populated historical set-pieces are enveloped in a regal luminosity, and pompously decorated. It is unfair to judge Tiepolo as lacking pupils and followers, since, for one, his children developed similar, but distinctive styles.
He is principally known for his fresco work, particularly his panegyric ceilings. These followed the Baroque tradition of Pietro da Cortona and Andrea Pozzo, and attempted to open the closed space to the sky, with a view from below of vast compositions that merged with the delicate ornamentation of the Rococo architecture and sculpture. His frescoes, such as Palazzo Valmarana in Vicenza, not only peer into the world of mythology, but are meant to relocate the viewer into their midst. The earliest example of this is perhaps his canvases in the Ca' Dolfin, which allowed Tiepolo to introduce exuberant costumes, classical sculpture, and action that appears to spill from the frames into the room. Originally set into recesses, they were surrounded with frescoed frames.
Other than his earliest works, his style is a distinct move from the Baroque, where dark, closed spaces illuminated with high contrast were popular; Tiepolo's daylight illuminates far more gently with a confident, sunny palette. His use of perspective is notable; in Palazzo Labia, Venice, he collaborated with an expert in perspective, Girolamo Mengozzi Colonna. The fact that Colonna also designed sets for opera highlights the increasing tendency towards composition as a staged fiction.

The above explanation comes from 出典: フリー百科事典"ウィキペディア"