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Domenio Tiepolo/

Domenico Tepolo
Drawings, Prints, andPaintings
in
TheMetropolitan Museum ofArt

LINDA WOLK-SIMON

THE METROPOLITAN MUSEUM

OF ART

The Metropolitan Museum of Art

is collaborating with JSTOR to digitize, preserve, and extend access to
The Metropolitan Museum of Art Bulletin ®
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DIRECTOR'S NOTE

Giambattista Tiepolo, the subject of a major exhibition as a painteris also well representedby a select group of
that opens at the Metropolitan in January, was one of the frescoes, oil sketches, and canvasesof both religious and
most celebrated painters in Europe during the eighteenth secularsubjects.These providethe touchstonesfor a
century. His closest assistant and collaborator over the broaderdiscussionof his majorworksandhis contributions
course of three decades was his son Giandomenico, among to the artisticcultureof the Venetiansettecento.
whose principal achievements were a consummate mastery In the followingpages LindaWolk-Simon,assistant
of his father's style and the recording and dissemination of curatorof the RobertLehmanCollection, takes us through
that style through technically accomplished etchings Domenico'scareer,fromhis beginningsin the workshopof
of Giambattista's paintings. But Domenico Tiepolo, as he his more illustriousparentto his highly accomplished
typically inscribed his name on his drawings, was also a efforts as a successfulprintmakerandpainterto his final
gifted artist in his own right, particularly admired for his flourishingas a draftsmanthat culminatedin his extraordi-
witty and often brilliant draftsmanship. naryseries of sheets devotedto the life of the commedia
As part of the Museum's Tiepolo celebration-held on dell'artecharacterPunchinello.Althoughmodestin scale,
the 3ooth anniversary of the birth of Giambattista-we are this publicationis the first studyto integrate fully all
mounting an exhibition devoted to the works of Domenico, aspectsof Domenico'sartisticpersonality,examiningin
the first such overview ever held. Also opening in January, chronologicalsequencethe highlights of his careeras
this show-and this Bulletin that accompanies it-surveys draftsman,painter,andprintmaker.The Bulletinandthe
his entire career through a presentation of the singularly exhibition, organizedby the author,will introduce
rich and extensive holdings of The Metropolitan Museum Domenico Tiepolo to a broadaudienceandpresent a selec-
of Art. Special emphasis is placed on Domenico's drawings tion of his works,in all their diversity,so that they maybe
and prints (the combined holdings of the Department of appreciatedand assessedon their own merits.
Drawings and Prints and the Robert Lehman Collection
make up one of the largest concentrations of his graphic Philippede Montebello
works anywhere in the world), but the range of his activities Director

This publication was made Photography of MMA works The Metropolitan Museum ofArt set or as individual yearly vol-
by Katherine Dahab, Eileen Bulletin, Winter I996/97. umes from Ayer Company Pub-
possible through the gen-
Travell, and members of The Volume LIV, Number 3 (ISSN lishers, Inc., 50 Northwestern
erosity of the Lila Acheson
Metropolitan Museum of Art 002o6-I52I)). Published quarterly Drive #Io, Salem, N. H. 03079,
Wallace Fund for The Met- Photograph Studio. Other pho- ? I997 by The Metropolitan or from the Museum, Box 700,
ropolitan Museum of Art tography supplied by credited Museum of Art, Iooo Fifth Middle Village,
established by the cofounder institutions except: pp. 4, II: Avenue, NewYork, N. Y. N. Y. 11379.

ofReader's Digest. Wolf-Christian von der Miilbe, oo0028-o098. Periodicals postage

Dachau; p. 5: ? Osvaldo B6hm; paid at NewYork, N. Y. and General Manager of Publications

pp. 8 (top), 26 (top), 27 (bot- Additional Mailing Offices. The John P. O'Neill
The exhibition "Domenico tom): the author; p. 12 (bottom): Metropolitan Museum ofArt Editor in Chief of the BULLETIN

Tiepolo: Drawings, Prints, Foto Marburg/Art Resource, Bulletin is provided as a benefit Joan Holt
and Paintings in The N.Y.; p. 25 (top, left, right): to Museum members and avail- Associate Editor
Scala/Art Resource, N.Y.; p. 27 able by subscription. Subscrip- Tonia L. Payne
Metropolitan Museum of tions $25.00 a year. Single copies
(top): Giraudon/Art Resource, Production Manager
Art" is made possible by the N.Y.; p. 36 (bottom, left): $8.95. Four weeks' notice Matthew Pimm
Robert Lehman Foundation. Reunion des Musees Nationaux. required for change of address.
Design
POSTMASTER: Send address
Emsworth Design
All works are in the collec- changes to Membership
tion of The Metropolitan Department, The Metropolitan
Museum of Art, Iooo Fifth
Museum of Art and are by Avenue, New York, N. Y.
Domenico Tiepolo unless 00o28-oI98. Back issues avail- on the covers
otherwise indicated. able on microfilm from Univer- Details of figs. 42,102, 93, 87
sity Microfilms, 300 N. Zeeb right
Road, Ann Arbor, Mich. 48106. Detail of Departure of the
Volumes I-xxxvnI (I905-1942) Gondola (fig. 45)
available as clothbound reprint

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,IN
INTRODUCTION
p

Venice duringthe eighteenth centurybecame an attenu- ?.

- ,,1
Ife?
ated reflection of its formerself. The thousand-year-old
Republicrelinquishedits once-powerfulrole on the politi-
cal stage of Europe, adoptinga strategicallyexpedient
neutralityin the face of Frenchand Austrianaggression.
Lucrativeforeigntrade dwindled,and rigid censorship
laws stifled the flow of progressiveideas from outside and
intellectual probitywithin. Archaicsocial conventions and
symbolictrappingsof past glory were staunchlyupheld, as
ceremonialpomp and pageantrydisguisedthe hollow core
of Venetiancivic life. Theater-particularly the light,
improvisationalcommediadell'arte-music, masquerade,
and Carnivalfed the relentless appetites of the local popu-
lace and of the swarmsof foreignvisitors alike for divert-
ing spectacles and frivolouspastimes of all sorts. The
once-splendidSerenissima(The Most SereneVenetian
Republic), as the city had long styleditself, was trans-
formedinto an insular andbackward-lookingnever-never
land, imperviousto the sweeping culturalforces that else-
where led Europeinto the Age of Enlightenment.
It is an historical paradoxthat the moribundstate that
Venice had become producedone of the most admiredand
vital schools of painting of the entire eighteenth century.
Its roll call included the view painters Canalettoand
Guardi;the historypaintersSebastianoRicci, Giambattista
Pittoni, GiovanniAntonio Pellegrini, andJacopoAmigoni;
the landscapepaintersMarcoRicci and Francesco
Zuccarelli;the genre painter Pietro Longhi;and the por-
I * GIAMBATTISTA TIEPOLO
traitistsRosalbaCarrieraandAlessandroLonghi. Tower-
The Artist with Presumed Portrait of His Son Domenico,
ing over all of his contemporarieswas the preeminent
1752-53. Detail of Apollo and the Four Continents from the grand
artisticgenius of the day,GiambattistaTiepolo (I696- staircase of the Residenz, Wiirzburg (see fig. io)
I770), acclaimednot only in Venice but also famed and
sought afterby powerfulpatronsthroughoutEurope.Heir
to the pictorial pageantryof Veronese and the golden age ingly in I743 that Domenico was already "following in
of sixteenth-centuryVenetianpainting, Giambattista the footsteps of his father." Nearly two decades later
Tiepolo also signaledthe culminationof the GrandMan- AlessandroLonghi (likewisethe painter-sonof a famous
ner of Italian Baroquepainting, the legacy of which- artist), in his Compendio delle vite de 'pittori veneziani
noblyposturing figures, expansive, operatic compositions, (Venice, 1760), confined his discussion of Domenico to
and soaring, light-drenchedskies-he elevated to brilliant the observation that he was "the most diligent imitator
new heights. Something of his genius was inherited by his of such a father." In a contract drawn up with the Scuola
son Domenico, whose own muse usheredhim into the di San Giovanni Evangelista the thirty-three-year-old
pantheon of Venetianart. artist, his own reputation by then well established, is
It was the fate of Domenico Tiepolo (I72o7-I804)to be called "Signor Domenico Tiepoletto, son of the cele-
the gifted son of a more prodigiouslygifted father (fig. i). brated professor." And Domenico himself proclaimed his
A dutifuloffspring, he acceptedthis fate gracefully,the filial devotion in an etching after one of Giambattista's
perpetualunderstudycontent to standin the spotlight's paintings inscribed "Quas Pater pixit, Obsequissimo
reflected glory while occasionallycommandingit on his animo Filius incidens"-What is painted by the father is
own. Domenico assumedthis role earlyandwith unwaver- etched by the devoted son. As this varied testimony from
ing loyalty.Referringto the sixteen-year-oldartist, whose his lifetime indicates, Domenico's artistic identity was
paintings he would later collect, the worldlyVenetian then, as it remains today, defined principally through his
savantand dilettante FrancescoAlgarottinoted approv- paternal lineage.

*4 *
 Domenico Tiepolo was endowedwith a distinctive and genre-popular culture and everydaylife. Evenwhen that
independent artistic personality,however,and his own subjectwas overtlyreligious in content, the artist'sfascina-
considerableaccomplishmentsas a painter, printmaker, tion with the quotidianand anecdotalandhis affinityfor
and particularlyas a draftsmanhave been increasingly the poignant andtouching aspects of the humancondition
appreciatedin recent years. Not surprisingly,it was in his were neverentirelyabsent.These currentsfound direct
autonomousworks ratherthan in large-scaleprojects on antecedentsin certain of his father'spaintingsand draw-
which he collaboratedwith GiambattistaTiepolo (fig. Io) ings, but whatremainedon the peripheryof Giambattista's
that this personalitycame into focus. Giambattistawas artwas accordedcenter stage by Domenico.
foremostthe purveyorof a grand, theatrical style, ideally
suited to vast fresco decorationsand monumental can-
vases populatedby ancient heroes (fig. 2), mythological
deities, and imperious saints. Domenico, although he
could when called upon scale such Olympianheights,
demonstratedinstead a predilection for the private and
intimate; and his preferredsubjectmatterwas drawnfrom
the less rarefiedand more immediatelyengaging realm of

2 * GIAMBATTISTA TIEPOLO

Meeting of Cleopatra and

Antony, mid-I74os. Fresco.
Palazzo Labia, Venice

*5*
THE EARLY YEARS OF enterpriseexisted in Venicein the eighteenth century,that
of Domenico'sGuardiuncles, Gianantonio,Francesco,
DOMENICO TIEPOLO
andthe nowvirtuallyunknownNicol6; the genre painter
Pietro Longhi's son Alessandrolikewise became an artist
Born in Venice on August 30, I727, Giovanni Domenico of renown. In this climate Domenico's careerpath was
MariaAntonio Tiepolo was baptizedon the tenth of Sep- not unpredictable,but unlike his talentless cousin
temberin the parish churchof SanTernita(Santissima GiacomoGuardi,who securedfor himself only a meager
Trinita). The fifth child and eldest survivingson of footnote in the chronicles of Venetianart, he showeda
GiambattistaTiepolo and his wife, Cecilia Guardi,sister naturalaptitudefor the job.
of the paintersGianantonioand FrancescoGuardi, Domenico's artistictrainingin the Tiepolo workshop
Domenico was named for his maternaland paternalgrand- began in the earlyI740s, a productiveperiod in which
fathers, Domenico Tiepolo and Domenico Guardi.In join- Giambattistaexecuted importantfrescoes, altarpieces,
ing his father'sbusiness (as his youngerbrotherLorenzo ceiling paintings, and mythologicaland allegoricalcan-
was later to do),he followedthe long-standingVenetian vases for distinguishedpatronsboth Venetianand foreign.
traditionof the familyworkshop,practicedin the fifteenth His initial activityconsisted primarilyof copyinghis
centuryby the Bellini, the Vivarini, and the Lombardo father'sdrawingsand paintings. The Metropolitan'sThree
familyof sculptorsand architects,and perpetuated AngelsAppearingto Abraham(fig. 3) is an earlycopy by
into the sixteenth centuryby Carpaccio,Tintoretto, Domenico based on a sheet by Giambattista.In I744 the
Veronese, and JacopoBassano,all of whom collaborated fledgling artistbegan to experimentwith printmaking,
with offspringof widely divergentabilities. Anotherfamily creatingetchings after Giambattista'sdrawings.These

3 * The Three Angels Appearing to Abraham by

the Oaks of the Mamre. Pen and brown ink, brown
wash, over black chalk; I53/4Xio7/8 in. (40 x 27.6 cm).
Rogers Fund, 1937 (37.165.5)
- - A student exercise characterized by carefully
drawncontoursandmeticulouslyappliedwash,
I- /
this highly finished sheet is Domenico's copy of a
'VI -"
a \ drawingby Giambattista now in the Museo
Civico, Bassano.
*4J
I . *^ .., c

,r ~ .
opposite, top
4 * Saint Matthew, ca. 1744. Etching, 8 7/8x 77/8 in.
(22.5 x 20 cm). Rogers Fund, 1922 (22.8i.28)
r .i~ 47
Domenico's image records one of Giambattista's
1'
monochrome frescoes in the Sagredo Chapel, San
Francesco dellaVigna, Venice. Executed ca. 1744,
_J the chapel's decorative program included the
,-

Four Evangelists in the pendentives.

*6*
 early,somewhattentative efforts by Domenico are,
like his copy drawings,student exercises-products of his
continuing artistic education-rather than accomplished
worksin their own right; but he quicklyprogressedto
reproducingGiambattista'spaintings (fig. 4) and, soon,
his own compositions (figs. 6, 7). So rapidwas his mastery
of the mediumthat by the late i74os Domenico could
justly claim to rival in abilityanyprofessionalprintmaker
workingin Venice (fig. 5).
In taking up etching, Domenico was most imme-
diatelyinspiredby GiambattistaTiepolo's efforts of the
earlyI740s, particularlythe series known as the Capricci,
as well as by the works of contemporaryand slightly earlier
Venetianpeintres-graveurssuch as LucaCarlevaris,Marco
Ricci, Canaletto,Michele Marieschi,and Francesco
Fontebasso.Eighteenth-centuryVenice was home to a
flourishingprint and illustrated-booktrade, and the tech-
nically accomplished,painterlyetchings producedby
these artists cateredto this taste while proclaimingtheir
creators'gifts in an increasinglycompetitivelocal market.
Canaletto'setched Vedute(Views),publishedin all
likelihood in I744 (the yearthat Domenico took up print-
making),must have been of particularinterest to the pre-
cocious young artist, for both their unsurpassedtechnical
virtuosityand their purpose of promotingthe reputation
of their maker.As a recent entry in a crowdedfield,
Domenico had no more instructivemodel to follow; and it
is thereforesignificantthat a complete earlyset of the
Vedute,presumablyacquired(given their rarity)at the
time of publication, is recordedin the Tiepolos' collection
of prints.
Domenico's activityas a printmakeris in fact more
closely allied to that of Canalettoand the ranksof profes-
sional etchers than to GiambattistaTiepolo's efforts in
this medium.WhereasGiambattistatook up etching only
intermittentlyand experimentally,creatingimages not-
able for their fundamentalstrangenessand poetic fantasy
(one of his two famous series, the Scherzi[fig. 27], was not
even circulatedduringhis lifetime), Domenico devoted
much energyto this pursuit over manyyears,producing
morethan I80 prints.With few exceptions,they arenot pri-
vate flightsof fancyor ruminationson bizarreor esoteric
themes but transcriptionsinto the print medium of paint-
ings and drawings,his own and those of Giambattista.
Domenico Tiepolo's emergence in the late I74os as
a printmakerof the first rankcoincidedwith his earliest
independentwork as a painter-a series of twenty-four
canvasesfor the Oratoryof the Crucifixionin San Polo,
Venice. Commissionedin I747 and completedtwo years
later, this cycle includes a Via Crucis(Stations of the
5 * The Virgin Appearing to Saint Simon Stock, I749. Etching,
Cross),images inspiredby a devotionalcult, first promul-
2313/16 X I5 9/16in. (60.4 x 39.5 cm). Rogers Fund, 1922 (22.81.85)
gated in the late seventeenth century,that emphasizedthe
This masterful etching reproduces Giambattista's I740 ceiling
fresco in the Scuola dei Carmini, Venice.
worshiper'sspiritualidentificationwith the sufferingof
Christon the roadto Calvary(fig. 6). (In 1749 Domenico
 published a series of etchings of the fourteen scenes of the
Via Crucisprecededby a dedicationpage and a title page
[see figs. 7-9]; a full set is in the Museum'scollection.)
*;{*f~~~~~~~~ ^^^The figuretypes are patently derivedfrom Giambattista's,
5F~~~~ ^i~\~~~ x~ ~as are certainlandscapeelements and architecturaldetails.
Indeed, at the time of their unveilingit was rumoredthat
Domenico's paintings had been reworkedby his father,
. so close at first glance are they in style and spirit to
',~ -
Giambattista'sreligious narratives.But certain idiosyn-
^
f^^ j R '_^L
<t
~crasies
j typicalof the son characterizethis earlyambitious
effort,notablythe ratherstifflyposed figures,their lack of
B^BR-^^B
^^?^ *'.;kfjl
? _volume, anda preferenceforplanarcompositionsthat com-
^^^&^
'^bvv ,^^5K_^^^51a ~ pensatesfor an inabilityto cast formsconvincinglyin space.
Whateverlimitations they reveal, the San Polo can-
vases are nonetheless remarkablyaccomplishedfor a
painter in his earlytwenties. Domenico's distinct artistic
personalityhas surfacedin the crowdsof Orientals and

6 * Via Crucis, Station IV.

The Meeting of Christ
and His Most Holy Mother,
I747-49. Oil on canvas.
Oratoryof the Crucifixion,
San Polo, Venice

7 * Via Crucis, Station IV.

The Meeting of Christ and
His Most Holy Mother,I749. i '
Etching, 8 %x 6 5/16in. (2I.9
x I7.6 cm). Rogers Fund,
1922 (22..81.6)

Muscular seminude figures . i

seen from behind, such as :
that in this print and in the
related canvas, were favorite ?
... i,
motifs of Giambattista . .
Tiepolo (see fig. 27)., "

i. ir
rl?i ?,

IU
c ?i

?
? rr.t
.-. ii t?

*8*
 8 * Detail of Via Crucis,
4 iyc~f'
tc? Station X. Christ Stripped
i L,r .cl Y~~~~~~~l of His Clothes and Given Bile
to Drink, I749. Etching.
Rogers Fund, 1922
(22.8i.I2)

Several of Domenico's spec-

tators, two of whom here
look out and confront the
viewer, wear contemporary
i8th-century dress. Such
anachronistic details
heighten the immediacy of
the Via Crucisscenes.

other exotic types (ubiquitous stock characters appropri- . ..

ated from Giambattista'sfiguralstaffagebut accordeda

greater, almost intrusive prominenceby his son) whose
purpose in the narrativeis obscure (fig. 9). Even more typ-
ical of Domenico are the numerouswitnesses andby-
standerssummonedfrom everydaylife, their forceful
presence impartinga decidedlyand even disconcertingly
contemporarynote to the events of the Passion (fig. 8).
This apparentdisregardon Domenico's part for histori-
cally correct details, although an establishedtraditionin
Venetianart, met with immediate criticism:Writing of the
Via Crucisin I749, one detractorremarkeddisapprovingly
that "all the figureswere wearing differentcostumes-
some Spanish, some Slavand some arejust caricatures.
And people saythat in those daysthat sort of personwas
not found and that he has paintedthem in that way only
out of personalwhim."
Consideredin a more favorablelight, Domenico's
insertion of figuresfromhis own time who interactwith
the viewer invests these compositionswith a novel direct-
ness and immediacythat heighten their affectingemo-
tional content and dramaticimpact. This desire to engage
the viewer, through pathos or through humor, is a hall-
markof his art fromthe beginning of his careerto the end
and the most salient featuredistinguishingDomenico's 9 * Via Crucis, Station III. Christ Falls under the Crossthe
approachto his subjectfromthat of Giambattista First Time, 1749. Etching, 8 %x 615A6in. (21.9 x 17.6 cm).
Tiepolo, whose pictorial pageants depict an inaccessible, Rogers Fund, I922 (22.81.5)

superhumanworld.

*9*
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 THE WURZBURG PERIOD,
1750-53

In I750 Domenico Tiepolo and his younger brother

Lorenzoaccompaniedtheir fatherto Wiirzburgin
Franconia(nowlargelypart of Bavaria).Giambattista,
acclaimedthroughoutEuropeas the greatest living fresco
painter,had been summonedto decoratethe Kaisersaal
(the official state dining room) of the Residenzof the
prince-bishop,CarlPhilippvon Greiffenclau.Recently
completed by the architect Balthasar Neumann (I687-1753),
the sumptuousBaroqueinterior was embellishedby
Giambattistawith equallysumptuousfrescoes celebrating
the venerablehistory,both secularand ecclesiastical, of the
Franconianpetty principality.Makingan appearancewas
DomenicoTiepolo, who, workingunderhis father'sclose
tutelage,was responsiblefor the three overdoors,one of
whichprominentlydisplayshis signature.
Soon after completingthe decorationof the Kaiser-
saal, Giambattistawas awardedthe commissionto paint the
vast ceiling of the grandceremonialstaircaseof the Resi-
denz (fig. io). RepresentingApollo andthe FourContinents
(a bozzetto[paintedsketch]for it is in the Metropolitan;
fig. 63), this dazzlingfrescoranksamongthe greatest mas-
terpieces of his career.Its sheer expanse-some 6,ooo
squarefeet-made the task too dauntingfor a single artist,
even one of Tiepolo's extraordinaryfacility,to carryout
unaided,and significantparts of the decorationwere
delegatedto the capableDomenico. So seamlesslydoes his
contributionblendwith Giambattista'sthat the precise
contoursof Domenico'sinterventioncannotbe easily
delineated,at least not without close scrutinyfroman unin-
tendedvantagepoint atop a scaffold.Whatis remarkable
aboutDomenico'srole atWiirzburgandwhat madehim
such a valued assistantuntil his father'sdeathwas, in the
wordsof one scholar,his "stupefyingmimetic capacity"-
the unparalleddegree to which he fully absorbed
Giambattista'sartisticidiom and faithfullyrealizedhis
ideas in paint. The presidinggenius at the Residenzwas
Giambattista,but the ceilingwas a collaborativeeffort, as
acknowledgedin the pairedportraitsof Tiepolo andhis
amanuensis-son,placedin a slightlydeferentialstance
behindhis father,the two immortalizedin a discretecorner
of the shimmeringcosmos createdby their brush (see fig. i).
The lessons ofWiirzburgwereto resonate throughout
the youngerTiepolo's career.It was there that Domenico
':jS
completedhis artistic trainingand assumedthe mantle of
1O * GIAMBATTISTA TIEPOLO monumentalfresco painterin the mode of Giambattista
I
I WITH THE ASSISTANCE OF
Tiepolo-an admittedlyweighty mantle he would don with
; 1 DOMENICO TIEPOLO AND
,I l
I OTHERS. Staircase with ceil- diminishingfrequencyin lateryearsbut which servedhim
I I

. well when commissions for such works arose (see fig. 64).
t ing fresco of Apollo and the
Four Continents, 1752-53. The staircaseceiling, like the Kaisersaalfrescoes, also
.i!

*,
,
I
Residenz, Wurzburg provideda storehouse of motifs that Domenico repeatedly
;,~rl

*11 *
 plumbedfor the next half-century.In the RobertLehman
Collection of the MetropolitanMuseum,for example,
is a drawingfromthe I77os of a stag and a crocodile head
that is based on correspondingdetails in the America
fresco (figs. II, I2).
Domenico's visual memorywas facilitatedby recourse
to the large corpus of chalk drawingsassociatedwith the
Residenz decorationsthat was maintainedin the workshop
as part of a vast graphic encyclopedia.This corpus con-
,
sisted of studies by Giambattista;copy drawingsby
. I

<-4 An,. Domenico and Lorenzoafter Giambattista'spreparatory

designs and afterpassages of the Kaisersaaland stair-
. case frescoes; and Domenico's own preparatorystudies,
often based on preliminaryideas by Giambattista,in which
he workedout details of pose and costume for his paint-
ings. So closely did Domenico succeed in emulating
Giambattista'sgraphic style in these chalk drawingsthat
N
t -

controversypersists in assigning certain sheets to one or

the other artist.
No chalk drawingsrelating to the Wiirzburgfrescoes
are in the Metropolitan Museum, and so a consideration
of the issue of attribution, although central to Tiepolo
studies, falls largely outside the scope of this discussion.
' .
However, the nature of the debate and the fashion in
which Domenico later reemployed such sheets to differ-
ent ends, can be briefly summarizedwith reference to a
study of three dogs in the Museum's collection (fig. 13).
Not an original invention, the dogs' heads are copied
11 * A Stag Lying Down (on a Base); The Head of a Crocodile,
after I770. Pen andbrown ink, brown wash, over traces of black from Paolo Veronese's Family ofDarius beforeAlexander
chalk; i 1/4x 77/8in. ( 28.5 x o2 cm). Signed in brown ink on the (late I56os or I57os; National Gallery, London). The
base, center right: Dom? Tiepolof. Robert Lehman Collection, sheet has been traditionally ascribed to Giambattista,
I975 (I975-..5I1) who may have recorded the canines for future use in his
Both the crocodile and the recumbent stag are later recollec- own compositions or, as has been speculated, in prepara-
tions of the America fresco at Wiirzburg (fig. I2). tion for painting a replica of Veronese's picture for
Francesco Algarotti.

I2 * GIAMBATTISTA TIEPOLO
AND ASSISTANTS
Detail of America fresco
fromApolloandtheFour
Continents(see fig. Io)

* 12
 13 * HERE ATTRIBUTED TO
DOMENICO TIEPOLO
Three Dogs, after PaoloVeronese,
ca. 1743. Black chalk, heightened with
white, on blue paper; I3% x 9% in.
'4 7, (33.3 x 23-3 cm). Rogers Fund, 1937
_*^~~~~ ^Se:..^>,~~ (37.165.53)

-
.

d /
''
yi ^ ^
I I
-

.:?. ?
,'
!
r. ^

'k44.
i. ...I/e
J
I ,

Two
4Dwarf774.

I4 * Two Dwarfs, 1774. Etching,

715/6 X 11/16 in. (2o.2 x 30 cm). Gift of
Mrs. Herman Wunderlich, in memory of
Herman Wunderlich, 1955 (55.555.I)
r
In addition to the two dogs derived from T;,
I

Veronese, this etching by Domenico

#
'
,

reproduces details of Giambattista's ,_

fresco of the Reception of the Emperor tdiri

Henry III at the Villa Contarini (origi-
nallyin the Villa Contarini-Pisani, Mira,
and now in the Musee Jacquemart-Andre,
Paris) and of one of his paintings of the ?c?.
Banquetof Cleopatra(Museum, 14:
Arkangelskoye). EPII: ?+ 4 :;3

IJi;-
/
(L.-d ,.???
ci

f ?-"

*13 *
 somewhattentative and immaturedraftsman.In any
event, the two spanielswere reproducedin reversein a
composite etching by Domenico of the mid-I77os (fig. I4),
which also incorporatesdetails from one of the Kaisersaal
frescoes at Wiirzburgand fromtwo other unrelatedpaint-
ings by Giambattista.The inscription credits Giambattista
Tiepolo with the invention of the paintings in which the
figures and motifs appearand Domenico with the execu-
tion of the etching. Although there is no referenceto the
drawing,it is clear that Domenico here availedhimself of a
model made long ago and kept readilyon hand.
Occurringthroughouthis entire career,this imitative
practicebecame increasinglyfrequentduring his last
decades (andparticularlyin his series drawingsproduced
after Giambattista'sdeath in I770, discussedbelow):A
sheet in the LehmanCollection (fig. I5), the subjectof
which is taken fromTasso'sepic poem Gerusalemme
liberata,reprises a compositionby Giambattistapainted in
Wiirzburg,but again through an intermediary-either a
>I'_
, _# . x
copy drawingmade at the time by Domenico or the repro-
ductive etching by Lorenzo (fig. I6).
Domenico's main function at Wiirzburgwas that of
assistantto Giambattista,but the young artist also pro-
duced a numberof canvasesof biblical and historical sub-
It is more likely, however,given its status as a careful jects for private patrons.A fine example is the Museum's
copy from a painted model and the insistent contour, SacrificeofIsaac (fig. I7). Paintedin a loose, fluid tech-
which is a recurring featureof his draftsmanship,that the nique, the canvashas the characterand size of a prelimi-
drawingis by the young Domenico, whose artistic training nary sketchbut is in fact a finishedwork. The style and
consisted in copying not only his father'sworkbut also handling closely approachthe mannerof Giambattista
that of earlierVenetianmasters. Moreover,the weaklyren- Tiepolo, to whom TheSacrificeoflsaac was at one time
deredhand supportingthe dog in the center suggests a attributed,but scholarsnow concur that the painting is by

15 * Rinaldo Persuadedby
Ubaldo and Guelfo to Aban-
don Armida. Pen and brown
ink, brown wash, over black
chalk;83/4x7 in. (22 x 8 cm).
Robert Lehman Collection,
i975 (I975..I-5II)
Giambattista's painting
(Staatsgalerie im Schloss,
Wiirzburg) on which this
drawing is based includes the
reclining Armida at its right
(see fig. I6).

i6 * LORENZO TIEPOLO A
Rinaldo Persuaded by Ubaldo
and Guelfo to Abandon
Armida, ca. 1753-54. Etching,
81/4x I1s8 in. (2o.9 x 28.2 cm).
Rogers Fund, 1922 (22.81.46)
Giambattista's composition AU-.Y''r,aK'
, t . \ , . . . .. . ..~~~~?
.

is reproduced in reverse in
this print. . -"

*14 *
17 * The Sacrifice of Isaac, ca. 1753. Oil on canvas,
i5% X 21 in. (39.I X 53.3 cm). Purchase, 1871 (71.28)

Abraham'swillingness to sacrifice his son Isaac

at God's command is told in Genesis 22: I-I3.
Domenico's painting is striking for its virtuoso
painterly technique, especially evident in the tree
behind Abraham, and for its rich palette.

*15 *
 are signed by him and there is no doubt that he had estab-
lished his own artistic reputation at court-but a major
sourceof their appealwas undoubtedlytheir "Tiepolesque"
character,that Tiepolo being Giambattista.
Domenico's independent personalityemerges more
decisivelyin other narrativepaintings producedduring his
Wiirzburgsojourn. TheSeparationof AbrahamandLot
from TheirPeople(fig. i8), reminiscent of the works of the
seventeenth-century Genoese painter and etcher
GiovanniBenedetto Castiglione (ca. I600-I665)-an
artist much admiredby the Tiepolos-in the rustic, pas-
toral treatmentof an Old Testamenttheme, could be easily
mistaken for a genre painting; fromhere it was only a
small step to Domenico's first pure essay in that mode, an
engaging depiction of a Gypsycamp (fig. I9) datableto
the Wiirzburgyears. The playfuldog, beardedOrientals,
feasting peasants, acutelyobserved still-life details, and
the incongruous well-heeled couple seen from the rear
paradingunder a parasolare all harbingersof subjectsand
motifs that would intrigue Domenico for the following
half-century.
Paintingwas the Tiepolos' primaryoccupation at
Wiirzburg,but drawingalso consumed much of their time
during the three-yearstay, particularlyduring the
winter months when the cold, dampclimate made fresco
paintingimpossible.Ampleevidence of this artisticpastime
x8 * Detail of The Separation of Abrahamand Lot from Their survivesfrom Domenico's hand, not only in the large cor-
People, ca. 1752. Oil on canvas. Private Collection, Rome pus of chalk drawingsrelatingto the Residenz decorations
alreadymentioned but also in a numberof pen-and-ink
Domenico, whose own artistic sensibilitywas ideally sketches that show him workingin a more experimental
suited to the production of these intimate, often small- and inventivevein. In a drawingin the LehmanCollection,
scale images. The Tiepolos' clientele was presumablynot part of a largergroup of similarstudies, a dense crowdof
deceived about the authorshipof the paintings they pur- antiqueand oriental figuresgathersfor a sacrifice (fig. 20).
chased-some of Domenico's largerWiirzburgcanvases Domenico's tendency to organize forms along the

x9 * The GypsyCamp,
ca. 1753. Oil on canvas.
MittelrheinischesLandes-
museum, Mainz (inv. no.
266)

rz1.., I
.^^c,rL .

* 16 *
 ~~~; ~I-
irv

r I/C4 '-.7
I.. K>\
&."
N\? 'j !,
t
/~~~?i

1j ',k

KrVvV(j/fr~ ~

no * A Crowd of Ancient Warriors, Orientals, and Two Boys,

Gathering for a Sacrifice, ca. I750. Pen and brown ink,
r 75/8 x II in. (I9.5 X 28 cm). Robert Lehman Collection, 1975

b
1; (1975.1.505)
Y'-
I
i ,e.p
.t surfaceratherthan in depth andthe friezelikecomposition,
I r ??
r evocativeof relief sculpture,recall his paintings, particu-
r .-,
larlythe monochromefrescoes in which he specialized
I --
I, /v 1,,' e
LII upon his return to Venice (see figs. 30-33). The esoteric
,1
-
1
'-~ ~~' ,. r i? i?- subjectandthe heterogeneous cast of charactersthat
_ I , recurs so often in his workfind parallelsin Giambattista's
'
'^.
, -'4 Capricciand even more so in the Scherzi,the preparatory
studies forwhich served as Domenico's point of departure
j~ ? L: c-I here (fig. 21). The scratchy linear style and the unusual
absence of wash invest this sheet with something of the
characterof an etching, andit is possible that Domenico
intended to simulatethe effects of this technique. (The
same maybe said of another drawingof roughlythe same
period, also in the LehmanCollection, representing
Christ Crowned with Thorns [fig. 22].)
21 * GIAMBATTISTA TIEPOLO Verydifferentin style, though relatedin subjectmat-
Detail of Sheet of Sketches Related to the Scherzi. Pen and ink ter to the Crowd ofAncient Warriors (fig. 20), is a brush-
over black chalk (?). Victoria and Albert Museum, London and-inkdrawingof a standing man in oriental dress
(D. I825.237-1885)
leaning on an altar (fig. 23), anotherimage that testifies to
Domenico's fascinationwith the subjectof "Orientals."
Here the figurehas the auraof a magicianor sorcererakin
to those who populate the Scherzi.The darkwash and
fluid, painterlytechnique derive from Giambattista's
drawingsof the first half of the I75os, when Domenico was

* 17 *
 the eighteenth-centuryVenetian chroniclerGiannantonio
Moschini, states that the artist createdthese etchings to
refute the chargethat he sufferedfrom a "povertadi fanta-
sia," that is, that he was deficient in the power of inven-
tion, which during the eighteenth centurywas a requisite
sign of artistic genius. The same source recounts that
Domenico succeeded in vindicating his reputationwith
the Flight into Egyptseries, which demonstratedthat "his
imaginationwas abundantlyrich in ideas."
Some scholarshave dismissedthis report as a fabrica-
tion. However,Domenico's title-Ideepittoresche-fully
corroboratesMoschini's story that he took up the subject
of the Flight into Egyptin orderto displayhis facile imagi-
nation, since in the eighteenth centurythe idea of the
"picturesque"was intertwinedwith notions of invenzione
andfantasia-the very faculties he was accused of lacking.
Domenico's emphatic declaration,included as part of the
title, that the etchingswere "inventataed incisa da me"
(inventedand etched by me) furthertestifies to his preemi-
nent motive of trumpetinghis own creativeprowess.

aa Christ Crowned with Thorns, mid-I75os. Pen and brown

*

ink, Iol2 x 8 % in. (26.8 x 21.9 cm). Signed in brown ink, bot-
tom right: Dom. Tiepolo. Robert Lehman Collection, I975
(1975.1.481)
The faintly indicated framing lines and fully elaborated com-
position suggest that this powerful study maybe a design for
an unexecuted etching. ? /:

most closely imitatinghis father.This study,like the Crowd ft,f, ?4

'
ofAncient Warriors,belongs to a larger,stylisticallyand
thematicallycohesive group of drawings.In these graphic
works of the I750Sis the genesis of the series drawingsthat
become an ongoing leitmotiv of Domenico's later career.
The masterpiece of Domenico Tiepolo's Wiirzburg
period was neither a painting nor a drawingbut ratherhis
celebratedset of twenty-fouretchings Ideepittoresche
sopra lafugga in Egitto di Giesu,Maria e Giuseppe(Pic-
turesque Ideas on the Flight into Egyptof Jesus, Maryand
Joseph;figs. 24-26, 28). Treatingthis subjectin a series of
prints mayhave occurredto Domenico as the result of his
familiaritywith a suite of etchings of the Flight and Repose
in Egyptby the seventeenth-centuryFrenchartistSebastien
23 * An Old Man in Oriental Dress, Standingby a Pagan Altar,
Bourdon(I616-1671),four plates of which were in the Point of brush and brown ink, 97/ x 71/8in. (25 x 18 cm).
I750S.
Tiepolos' print collection. Certainlythe subject,with its Annotatedwith an erroneous attribution to Rembrandt
limited dramaticpotential, was a ratherimprobable in a late i8th- or early-Igth-century hand. Robert Lehman
vehicle for expansivepictorial investigation and Bourdon's Collection, 1975 (I975.1.506)

series provideda relevant precedent.

An accountfromDomenico'sown lifetime, recordedby

*18 *
 i '?
-V.. A .
f?
"'

2.-- --?c-r
rr" c' ez i-.
-- -- ?C1-
---I-.
,PE 43 j?? Sr 3?. F
'4' c,_

24,2 5 * The Flight into Egypt,

I750-53. Etchings. Each
73/8 95/8in. (8.9 x 24.5 cm).
Purchase, Florance Waterbury
Bequest, I970 (I970.692.i8,4)
This series of twenty-four
prints (all of which are
in the Museum's collection)
was dedicated to the Tiepolos'
C.~~~~~~~~~~~~~~~~~~7 Wiirzburg patron, Carl
:Yl~~~~~~~~i
5~~~~, 0 \ I Philipp von Greiffenclau, and
( .I
was accompanied by a frontis-
oc -4 . .

piece, dedication page, and

title page. Domenico worked
on the set during his three
years in Wiirzburg, although
the initial idea for the project
may have originated prior to
his departure from Venice.

*19 *
 - --
1
~
i *1 *.,f4

.F( I
. \ '
i'N-''-I
Mil,
t 'IL..

I . .
-1

-??

i, ' \
- .- %l

*?
^
I,
t-r * F ,I

>e^ \.1'1SA
u;L,
'v
r
r-
lb ? ?r?
.?- -'L?3.?
-. ' iii- .?i
- ?
;;7' I. , I( L
Idi,?'?
^' -c?j
11--? .r
L? '""

Unlike the Via Crucisetchings, the Flight into Egypt a6 * The Flight into Egypt, I750-53. Etching, 711/16 x 9 5 in.
series does not form a continuous narrative;despite the (18.7 x 24.5 cm). Purchase, Florance Waterbury Bequest, 1970
sequential numberingof the plates (presumablynecessary (I970.692.6)
for their publication) and an obviousbeginning and end,
there is in fact no narrativein the conventional sense.
opposite, top
(Underscoringthis lack of continuityis the depiction of 27 * GIAMBATTISTA TIEPOLO

Josephin three differentguises: avigorous mature Scherzi di Fantasia: A Seated Shepherd, Three Magi, and
guardian,a beardedpatriarch,and a stooped, ratherfrail a Youth, ca. 1743-47. Etching, 87/8 x 6 7/8in. ( 2.4 x I7.5 cm).
old man.) Instead, Domenico composed twenty-four Purchase, The Elisha Whittelsey Collection, The Elisha
different"picturesquevariations,"or "caprices"(capricci), Whittelsey Fund; Dodge and Pfeiffer Funds; Joseph Pulitzer
on a single theme in an impressivedemonstrationof his Bequest; Gift of Bertina Suida Manning and Robert L.
Manning, 1976 (1976.537.8)
limitless invenzioneandfantasia. Ancillaryfigures and
motifs having nothing to do with the accounts of the Flight
recordedin the Gospel and the Apocryphaappear opposite, bottom
28 * The Flight into Egypt, I750-53. Etching, 75/16 X 9 11/16in.
throughout, such as the old womanwith a basket of eggs
in plate 6 (fig. 25)-a motif derivedfrom Titian's (18.6 x 24.5 cm). Purchase, Florance Waterbury Bequest, 1970
Presentationof the Virgin(Accademia,Venice) and later (I970.692..o)

reemployedby Domenico in one of the frescoes of the

Foresteria (guesthouse) of the Villa Valmarana(see figs.
34, 36, 40); the vaguely sinister-looking shepherd tending
a flock of sheep in plate 8 (fig. 26); the encroaching
crowdof Orientals and the half-buriedclassical relief
in plate 12 (fig. 28); and the truncated pyramid

*20 *
 in plate 20 (fig. 24). The last two details occur in
Giambattista'sScherzi,producedintermittentlyin the
i74os and i750s (fig. 27 and see fig. 75). Such gratuitous
pictorial motifs were introducedinto the Flight into Egypt
preciselyfor their "picturesque"qualities-as exercises
infantasia. Tobe sure, the posthumous title, Scherzidi
Fantasia, given by Domenico to Giambattista'setchings at
the time of their widespreaddistributionin the I77os, has a
suggestiverelevanceto his own roughlycontemporaneous
Flight into Egypt,which is essentiallya series of musings
on a sacredtheme.
In eschewing conventionalnarrativesequence in
favorof a fluid and thereforepotentiallyinterchangeable
orderingof images, Domenico in the Flight into Egypt
anticipateshis last great pictorial cycle, the I04 drawings
Fj(?'C?d of Punchinello known as Divertimentoper li regazzi
'r r' "

CI.
"1Y"s:l (Entertainmentfor Children;see pp. 59-67). As will be
discussedbelow, a key to understandingthat engaging if
1 ., z enigmatic series lies in the realizationthat, as in the Flight
1)
i::,': - into Egypt(andin GiambattistaTiepolo's Capricciand
' (?? Scherzietchings), the constraintsof sequentialnarrative
!j; ? were abandonedin favorof a less rigid and more inventive
approachto storytelling.

-
--- -
L-:-~ .7--- -

*21 *
ARTISTIC MATURITY IN VENICE in I779, deridedthe painting as merely "ayouthful carica-
ture of his father's style."
Such imitation assumeda more favorableguise in
Giambattista,Domenico, and LorenzoTiepolo departed Domenico's frescoes in the choir of the churchof Saints
Wurzburgin November1753,returningto Venice at the Faustinaand Giovita, Brescia, completed in the mid-I75os
close of that year.Domenico continued to serve as his and based in part on designs by Giambattista;these paint-
father's collaboratorand executantwhile achieving a ings reflect a preeminent concern on Domenico's part to
greater artistic autonomyboth within and outside of the emulate as closely as possible his father's style, the son
workshop.An altarpiece of the Stoning of Saint Stephen functioning here in Giambattista'sphysicalabsence from
(StaatlicheMuseen PreussischerKulturbesitz,Berlin), the scene as his artistic alter ego. But this decade also saw
reproducedin reversein an etching by Domenico (fig. 29), Domenico's emergence as his father'spartner-a partner
was commissioned in I754 directlyfromhim as a pendant of prominent if not quite equal status-who had developed
to Giambattista'sAdoration of the Magi (Alte Pinakothek, his own specializationin the Tiepolo shop. This special-
Munich).The inscription proudlyproclaimsthe invention ization lay in two distinct areas:the execution of mono-
to be Domenico's own. However,a Germandiarist, writing chrome frescoes and, in a continuation of strides first
taken atWiirzburg,the depiction of genre subjects-
Carnivalscenes, peasant life, Gypsies, commedia dell'arte
characters,and the worldlypursuits of the leisured
classes-in both fresco and oil painting.
Domenico's particulartalents as a painter in mono-
chromewere pressed into service in severalcollaborative
campaigns of the I750s and early I76os. They included an
extensive cycle of mythologicaland allegorical subjects
for the Villa Volpato-Panigai,Nervesa (I754); six scenes
illustratingthe history of the Porto fanlilyin the Palazzo
Porto, Vicenza (I758-60); eight frescoes of Old and New
Testamentsubjectsin the Oratoriodella Purita, Udine
(I759); personifications of the Four Continents in the
Palazzo Canossa, Verona (1761); and eight allegorical
scenes in the Villa Pisani, Stra (I761-62).
This aspect of his activityis well representedin the
Museum'scollectionby fourmonochromeoverdoorfrescoes
of the Continents (ca. 1757-60), possibly from the Palazzo
Valle-Marchesini-Sala,Vicenza, where Giambattistahad
workedsome years earlier.The personificationsconform
to the descriptionsin CesareRipa'sIconologia, an icono-
graphichandbookwidely used by artists since its first pub-
lication in the late sixteenth century:Europeis crowned
and embracesa model of a church (fig. 30); Asia leans
against a camel and holds palm fronds (fig. 31);Africasup-
ports a jug andwears an elephant'strunk on her head
(fig. 32); and America, seated on a crocodile, is clad in a
short skirt and featheredheaddress(fig. 33). The figures
are starklysilhouetted against flat, neutralbackgrounds,
fromwhich they boldly project. Eachrecalls on a lesser
scale the correspondingpersonificationfrom the great
ceiling atWiirzburg (see fig. io), but Giambattista's
29 * The Stoning of Saint Stephen, ca. 1754-55. Etching, 193% superhumanallegories, engulfedin a sea of esoteric attri-
x iol/2 in. (49 x 26.6 cm). Rogers Fund, 1922 (22.8i.28) butes and renderedin a panoply of brilliant colors and
textures, are transformedin these more austere creations
into simulatedmarbleor stucco reliefs. Domenico's ten-
dency towardflat, planarcompositions becomes an asset in
the Museum'smonochromepaintings and in his other
inventions of a similarvein.

*22 *
 Domenico Tiepolo's most singular and enduring artis- from the very beginning of his career. This predilection
tic contribution lies in the realm of genre-as a chronicler achieved its most brilliant realization in his frescoes in the
of the contemporary scene, the fancies and foibles of Foresteria of the Villa Valmarana ai Nani, outside Vicenza,
which he captured in some of the most pleasingly seduc- and in the decorations that Domenico carried out over a
tive images of the entire eighteenth century. It has already protracted period in the Tiepolo family villa at Zianigo,
been noted that a predilection for genrelike pictorial near Mirano (these frescoes are now in the Ca' Rezzonico,
details and a fascination with the characters and costumes Venice). A number of oil paintings, including the Metro-
of his own day can be discerned in Domenico's oeuvre politan's charmingA Dance in the Country (fig. 42), and a

30 * Europe, ca. I757-60.

One of four frescoes,
transferredto canvas; each
approx. 321/4 x 42 3/4in.
(8I.9 x Io8.6 cm). Bequest
of Grace Rainey Rogers, '
I943 (43.85.I9)
Domenico's four overdoor
frescoes of the Continents
were removed from their
undocumented original
setting in the early 2oth
century. They are believed
to have come from the
same palace (Palazzo Valle-
Marchesini-Sala, Vicenza)
as a group of monochrome
frescoes of the late I740s by
Giambattista and his work-
shop, also in the Museum's
collection. The figures are
rendered in broad strokes
that suggest light reflecting
off a polished surface, thus
enhancing their sculptural
effect.

3I * Asia. Bequest of Grace ; :

Rainey Rogers, 1943
(43.85.17) :

*
*23
 32 * Africa. Bequest of Grace
Rainey Rogers, I943
(43.85I.8)

33 * America. Bequest of
Grace Rainey Rogers, I943 '
Z

(43.85.20)

series of drawings to be discussed below (see pp. 55-58) also Domenico; fig. 37), and Domenico was entrusted with six
reveal this highly engaging side of Domenico Tiepolo's of the seven rooms of the Foresteria (the seventh, known
artistic personality. as the Sala dell'Olimpo, was decorated by Giambattista).
The firm ofTiepolopere etfils worked at the Villa Released from the distant elegiac world of gods and
Valmarana in I757. Giambattista painted scenes from the heroes, Domenico drew from his own resourceful imagina-
epic poetry of Homer, Virgil, Ariosto, and Tasso in the tion. The witty vignettes of the Stanza Cinese (Chinese
main villa (many of which were reproduced in etchings by Room) are a product of the same fanciful taste for things

*24 *
below
34 * The Mandarin's Promenade, I757.
Fresco. Foresteria, Villa Valmarana, Vicenza

bottom, left
35 * WENCESLAS HOLLAR
The Winter Habit of an English Gentle-
woman, 1644. Etching, 61/2 x 45/16 in.

(16.5 x 12.I cm). Gift of Theodore De Witt,

I923 (23.65.35)

above
36 * The Winter Promenade,
I757. Fresco. Foresteria,
Villa Valmarana, Vicenza

left
37 * MercuryAppears to
Aeneas in a Dream, I757.
Etching, 9 1/2 x 71/8in.
(24.I x i8.i cm). The Elisha
Whittelsey Collection, The
Elisha Whittelsey Fund,
1988 (I988.I035)
This print reproduces in
reverse one of Giambattista's
three frescoes in the Aeneid
Room of the Villa Valmarana.

*25 *
 oriental that resulted in the contemporarycrazefor chi-
noiserie in Franceand England(fig. 34). Neo-Gothic con-
fections in the Stanzadel PadiglioneGotico (Roomof the
Gothic Pavilions), designed by GiambattistaTiepolo's fre-
quent collaboratorGerolamoMengozziColonna(ca. i688-
ca. 1772), frameDomenico's open-airscenes of elegant,
mostly female figures, outfittedwith fans, furs, and
muffs (fig. 36); here the artist mayhave been inspiredby
Wenceslas Hollar'sprints of women's costumes from dif-
ferent parts of the world (fig. 35), a large collection of
, ' which belonged to Domenico and his father.
- I'/4 *
*+ Domenico also looked out at the countrysidearound
him, creatingin the Stanzadelle Scene Campestri(Room
of Rustic Scenes) some of the most touching and evocative
images of peasant life ever produced,his bucolic vision set
in a luminous, sun-dappledlandscape.The artistwas obvi-
ously not without sympathyfor these coarse though well-
scrubbedbeings, but he also could not resist poking gentle
' =1
fun at their stockybearing and slightly preposterouscos-
tume (fig. 38). (Domenico had a special preferencefor fig-
A., -I ures seen from the rear,a point of view full of caricatural
possibilities, as attested in a drawingin the LehmanCol-
lection of two women [fig. 39; see also fig. 87].)
38 * Three Peasants, I757. Fresco. Foresteria, Villa Valmarana, Domenico's wall paintings at the Villa Valmarana
Vicenza reveal the full wealth of his talents and rank among his
masterpieces;yet such works apparentlydid not find a
wide audience, and the artistwas never again commis-
sioned to producefrescoes of this type. Onlyin the family's
ownvilla at Zianigo, in a private undertakingintended to
please only himself, did he once more decorate the walls
with scenes from contemporarylife. (ThePeep Show-a
magic-lanterndemonstration-repeats almostverbatim

39 * Caricature of Two Women Seen

from Behind, after I790. Pen and
gray ink, brown and graywash;
in. (I5.6 x I9.5 cm). Signed
61/8x 7%5/8
in brown ink, lower right: Dom? I " 4^
Tiepolo. Robert Lehman Collection, ..;
.
'.' .I I
1975 (I975.I.508) I '\
-
I,
This drawing is an example of I

Domenico's late "ragged" style (see - 7

'. .. .
also fig. 6i). The woman at the left
J
reappears carrying an umbrella in
it
>1VA~~~~~~~I
the Punchinello sheet known as The
Spring Shower (fig. I07).
4 ,
e ,
:r
I
, ,"
AI 1L ' * . .. -,
,

0.II'

*26 *
 40 * The Peep Show, I757.
Fresco. Foresteria, Villa
Valmarana,Vicenza

below
41 * The Peep Show, signed
and dated I79I. Fresco. Villa
Tiepolo, Zianigo
The caped man holding
a tricorne is based on a cari-
cature by Giambattista
Tiepolo, now in the
Museum's collection (see
fig. 92).

an earlier composition at the Foresteria [figs. 40, 41].) One of the painter'smost brilliant and captivating
However, a market for small paintings of contemporary pictorial excursionsinto the world of eighteenth-century
Venetian life did exist, and to gratify that taste Domenico Venice is the Metropolitan's A Dance in the Country
turned out a number of canvases depicting Carnival, (fig. 42). The setting is the walled garden of a Venetian
the commedia dell'arte, and the everyday world of the mainlandvilla, with a mountainousatmosphericland-
Venetian lagoon and mainland-peep shows, charlatans scape glimpsed in the distance. Surroundedby a crowdof
and quack dentists, acrobats and dancing dogs, richly cos- elegant ladies, fashionableyoung men, musicians, and
tumed aristocrats, and Punchinello. These paintings reveal maskedrevelers, a sprightlycouple dances. Among the
Domenico Tiepolo's sparkling powers of invention at their
fullest and most appealing; but for all their storybook qual-
ity the subjects are not purely a product of his imagination.
To the contrary, Domenico's inspiration was the "theater
of life" presented by the contemporary Venetian scene.
The theatrical character of Venice captivated the
German poet Johann Wolfgang von Goethe, who visited
the city in I786 (during Domenico Tiepolo's lifetime) and
recorded his impressions in a copious journal. Reflecting
on the convergence and reciprocity of reality and theater,
he observed that
the basis of everythingis the common people; the spectators
join in the play andthe crowdbecomes part of the theater.
During the daytime,squares,canals, gondolas andpalazzi
are full of life as the buyerand seller, the beggar andthe
boatman,the housewife andthe lawyeroffer something for
sale, sing and gamble, shout and swear.In the evening these
same people go to the theaterto behold their actuallife pre-
sentedwith greatereconomyas make-believeinterwoven
with fairystories andremovedfromrealityby masks,yet in its
charactersand manners,the life they know.... Fromsunset
to sunset, from midnightto midnight, they arejust the same.
What Goethe recorded in his journal, Domenico recorded
on canvas.

*27 *
assembledonlookers are severalstock charactersof the
commediadell'arte. Recognizableby their conventional
costumes and masks are Punchinello, the mountebank
with tall hat andbeaklike nose at the center (a second
Punchinello hat is visible behind); Harlequin,climbing the
tree; Columbine,the maskedfemalebehind the dancers;
Coviello, sproutingtall feathersfromhis cap andwearing
a maskwith a large hooked nose, playingthe bass at the
right; and the Doctor, an academicpedant of Bolognese
origin, attiredin the black robe of a pedagogue and a large
floppyhat. Another character,possiblythe Captain,as his
beardedvisage, cape, gloves, and tricorne suggest, is
behind him. Seated at the right, beside the woman sipping
a fashionablecup of steaming chocolate, appearsone more
memberof the troupe-perhaps Pasquariello-wearing a
large ruff and close-fitting cap.
The handsome dancing couple, the object of the
bystanders'collective gaze, also comes fromthe ranks of
the commediadell'arte. Although their names varied from
troupe to troupe, the pair of lovers aroundwhom the
comic scenarios revolvedwere often known as Lelio and
Isabella, after two earlycelebratedperformersof such
roles. Also commonlyencountered as romanticleads were
Octavio and Lucia. (The latterwas depicted as an elegant
unmasked lady by Jacques Callot [I592/93-I635], whose
prints were collected by the Tiepolos.) Unlike the other
charactersof the commedia, the lovers seldomwore masks
(althoughin Domenico's painting, as in some later engrav-
ings, Lelio dons a mask), and it was through costumes, as
well as through gestures and actions, that their identities
were communicatedto the audience.
Neither a spontaneous rustic revelrynor a staid and
staged minuet in which the dancersare stifflyposturing
nobles (as commonly seen in images of the period), the
subjectof Domenico's painting is the entertainment of a
group of aristocraticVenetians, gathered at a country
estate for villegiatura (country holiday), by an itinerant
commediadell'arte troupe. Acclaimedfor their improvisa-
tional skills and expressivedeclamatorygestures, these
maskedactors presented comedic scenarioswithout the
benefit of written scripts, relying on only a skeletal plot
called the canovaccio. Such troupes flourished throughout
Italy, especially in the north, from the sixteenth century entertained. Like gaming, music making, gossiping and
through the end of the eighteenth century.They originally drinking chocolate upon rising at noon, outdoor strolls, and
performedout of doors on portable stages and later in carriage rides, commedia performances were common-
public theaters as well as on the private stages of Venetian place pastimes in the world of Venetian villegiatura until
palaces andvillas. The great championof this traditionof the end of the eighteenth century. These diversions
Italian impromptutheater and its maskedactorswas frequently took place in splendidly decorated gardens.
Domenico Tiepolo's contemporarythe Venetianplay- Indeed, so closely did the commedia dell'arte come to be
wright Carlo Gozzi (I720-I806), who authored a number associated with villa life in the eighteenth century that the
offiabe teatrali (theatrical fables) for the commedia. magnificent gardens of the Villa Conti Lampertico at
Commedia dell'arte troupes frequently enjoyed aristo- Montegaldella, near Vicenza, were decorated with over one
cratic patronage, and in the Veneto were often housed dur- hundred sculptures by Orazio Marinali (I643-I720) and his
ing the summer at the country estates of the nobles they workshop of the "masks," or characters of the commedia.

*28 *
42 * A Dance in the Country, mid-I75os. Oil on canvas, The Paris and Barcelona canvases have as pendants The
29 3/ x 471/4in. (75.6 x 120 cm). Gift of Mr. and Mrs. Charles Quack Dentist (Louvre) and The Charlatan (Museo de Arte)
Wrightsman, I980 (I980.67) respectively. It is possible thatA Dance in the Country, too,
was originally paired with a similar genre scene, although no
The glowing, vibrant, and jewel-like palette; the dazzling,
such pendant is recorded or known today.
virtuoso technique and trembling brushstroke; the luminous
atmosphere; and the brilliantly observed details of costume
and setting combine to make this masterpiece a paradigmatic
expression of Domenico's artistic genius. A similar painting
known as The Minuet, once owned by Francesco Algarotti, is
in the Musee du Louvre, Paris. A third variant (Museo de
Arte, Barcelona), simpler in composition than both of these
works, features as the dancing couple the commedia dell'arte
characters Pantalone and Columbine.

'
*29
 43 * Detail of A Dance in the
Country

In his Dance in the CountryDomenico capturednot Italian commediadell'arte, the witty Frenchtravelerand
only the culturalaesthetic of villegiaturabut also the very letter writer Charlesde Brossesremarked,in an account
essence of the commediadell'arte tradition:its unstaged publishedin I740, that in Italian impromptutheater
qualityand the improvisednaturalismof the action. This the gestureandthevoiceinflectionarealwaysweddedto the
studied naturalism-the antithesis of Frenchtheater of subject...; the actorscomeandgo, theyspeakandmoveas
the period-was widely noted by contemporaryobservers in theirownhomes.Thisactionis naturalin averydifferent
and chroniclers.Goethe (whowas a great admirerof Carlo senseandwearsanairoftruthverydifferentfromthatwhich
Gozzi'sfiabe andwhose friend JohannHeinrich Merck is seenwhenfourorfiveFrenchactors,arranged in a line,
once ownedA Dance in the Country),after attendingthe likeabas-relief,onthe foregroundof the stage,recitetheir
commedia at the TeatroSan Lucain Venice, wrote that he dialogueeachspeakingin histurn.
"hadnever seen more naturalacting than that of these That Domenico Tiepolo, too, fully appreciatedthis natu-
maskedplayers";he furtherreflected that such art could ralismand spontaneityis vouched for by the subjectof his
be achievedonly by "long practice."A similarobservation painting-this improvisedperformanceby maskedplay-
was offeredby the eighteenth-centuryhistorian of the ers, which at first glance appearsto be simplya dance in
Italian theater Louis Riccoboni, who commentedthat "the the country.
actorwho performsimpromptu,performsin a more lively
and naturalmannerthan he who plays a role which he has
learned by heart."
Recognizing in this lack of theatrical artifice the
fundamentaldistinction between Frenchtheater and the

*30 *
SPAIN AND THE LATER CAREER a specialist in intimate pastel portraitsof membersof
the Spanishcourt and household. Domenico, however,
OF DOMENICO TIEPOLO IN
remained allied to the tradition of the GrandManner,
VENICE which, though out of favorin Spain and on the verge of
extinction throughout Europe, still flourished for a time
in Venice.
In I762 GiambattistaTiepolo, again accompaniedby The VenetianRepublicto which Domenico returned
Domenico and Lorenzo, traveledto Madridto enter the in I770 was a provincialbackwater,where outside influ-
service of the Spanishking CharlesIII. He remainedthere ences of all sorts were regardedas subversiveby the gov-
until his death in I770, carryingout a numberof ceiling ernment. Inexorablepolitical and economic decaywas
frescoes in the royalpalace and a series of altarpiecesfor masked, among other means, by a sustainedpursuit of
the monastic churchof San Pascualat Aranjuez,outside visual opulence. This phenomenon and the conservative
the capital. Then over sixty-fiveyears of age, Giambattista taste of newlywealthypatronswho stroveto emulate
relied increasinglyon the assistance of his sons, particu- the trappingsof the old nobility ensured a lingering mar-
larlyDomenico, who had a greaterparticipationin ket for all that GiambattistaTiepolo's art represented.In
Giambattista'spaintings producedin Spainthan he did in this climate Domenico Tiepolo, the son and heir, had no
those at Wiirzburg.(The ceiling painting of the Glorifica- competition. The altarpieces and ceiling decorationshe
tion of Spainin the antechamberto the queen's apart- undertookin Venice after I770 did not constitute an eman-
ments is entirelyby his hand.) Masterof his father's style, cipation from or repudiationof GiambattistaTiepolo's art
Domenico functioned once more as the model executant but ratherits final flowering.Domenico in his public com-
whose own artistic personalityobligingly disappeared missions never forgot his father'smaximthat the painter
fromthe stage. Attemptsto discern the extent of his inter-
vention in Giambattista'sworks of this period offer little
new insight into their by now well-establishedpattern of
collaborationother than to highlight the aging artist's
increasing dependence on his more agile son.
In MadridDomenico continued to producegenre
paintings of the type exemplifiedbyA Dance in the Coun-
try. The figures occasionallyadoptedelements of Spanish
fashion, but the subjects-dancing dogs, Punchinello, the
minuet, the departureof the gondola (fig. 45) and of the
burchiello(canalbarge)-were alreadyfamiliarfromhis
Venetianworks. In Madridhe also painted Testedi
Fantasia-imaginary portraitheads of beardedOrientals,
patriarchs,philosophers, andbeautifulwomen in fancy
dress-types that Giambattistacreatedin the I74os
(see fig. 48) and that Domenico himself later treated in
the series of etchings known as the Raccolta di Teste
(Collection of Heads [see figs. 44, 49-52]), published in
1774afterhis returnfromSpain.Not surprisingly,manyof
Domenico'sTestedi Fantasia are replicas of paintingsby
Giambattista(others are copies andvariantsby Lorenzo),
and questions of attributionstill cloud a numberof
these works.
Unlike Lorenzo, who elected to remain in Spain,
Domenico returnedto Venice immediately after
Giambattista'ssudden death in MarchI770. He could not 44 * Raccolta di Teste: Portrait of Domenico Tiepolo, 1774.
have been imperviousto the profoundshift in artistic Etching, 45/8x 3/4 in. (II.9 x 9.5 cm). The Elisha Whittelsey
taste then taking hold in Madrid(as elsewhere), where the Collection, The ElishaWhittelsey Fund, I977 (I977.586.2)
late Baroqueexuberanceof GiambattistaTiepolo was This image is not strictly a self-portrait, as it is based on a
eclipsed by the staid Neoclassicism of Anton Raphael I773 painting of Domenico by Franz Joseph Degle (Staatliche
Museen Preussischer Kulturbesitz, Berlin).
Mengs (I728-I779), his rival at the Spanish court. Lorenzo
Tiepolo weatheredthis changing aesthetic tide, becoming,
in the mode of the famedVenetianartistRosalbaCarriera,

*31 *
 *
*32
 painted, this type of image would have appealed to certain cul-
tivated and cosmopolitan Spanish collectors.
Several of the figures in Domenico's painting are attired
q 1 in the highly popular bautta-a mask (volto) worn with a
-I!.
hooded mantle of lace, silk, or velvet and topped with a hat,
usually a tricorne. Much favored byVenetians and foreign visi-
tors, masks were officially permitted during Carnival, which
began on Saint Stephen's Day (December 26) and lasted until
Lent, but were also allowed during other specified feast days
and celebrations.

opposite, bottom, and below

46, 47 * Details of Departure of the Gondola

above
45 * Departure of the Gondola, mid-I75os or I76os.
Oil on canvas, 14 x 8 9/16in. (35.5 X72.5 cm).
Signed on placard attached to column: Dom?/TIEPOLO.
Private Collection

The suggestion has been made that this painting, once in a

Spanish collection, was executed during the Tiepolos' resi-
dency in Madrid in the I76os. The beautiful, pale silvery tonal-
ity and extremely refined, delicate handling of the brush
distinguish it from A Dance in the Country and point to a later
date for this work. The subject-aristocratic Carnival revelers
descending from afondamenta (quay) into a waiting gondola
as interested bystanders and expressionless servants in livery
look on-is so quintessentiallyVenetian, however, that a
Venetian-period date cannot be ruled out. It is possible, given
the rather small scale of this painting and its presumed pen-
dant, The Departure of the Burchiello (the barge that shuttled
passengers from Venice down the Brenta Canal to nearby
Padua), now in the Kunsthistorisches Museum, Vienna, that
these works were executed by Domenico in Venice and brought
by him to Spain, either as "samples" to show prospective
Spanish patrons or as nostalgic reminders of home. Regard-
less of where these particular Venetian genre scenes were

*33 *
 must alwaysstrive "forthe sublime, for the heroic, for per-
fection," even if his own artistic calling inclined him down
a less exalted path.
Resuminghis activityas a printmaker,Domenico, in
I774, publishedthe Raccolta di Testeas part of a complete
edition of etchings by his father,himself, and Lorenzo.
Begun in the late 1750s, the Raccolta di Testeappearedin
two volumes, each containing thirty etchings and a title
page. Volume I opens with a portraitof Giambattistaand
volume 2 with a portraitof Domenico (fig. 44). With the
exception of these portraits,the heads in the Raccolta,
accordingto the title pages, arebased on paintingsby
Giambattista,primarilythe Testedi Fantasia (fig. 48).
Beardedandwearing turbans,manyof the subjectsare the
familiarTiepolo "Orientals"and "philosophers."One
head immediatelycalls to mind Rembrandt(fig. 52);
another is the paradigmatictype who occurs repeatedly
among the Tiepolos' cast of observersandbystanders
(fig. 5I); and others, such as the heads of Thrksrepresented
inprofil perdu (lost profile), are sheervirtuoso displays
(fig. 50). Viewed as a whole, the Raccolta can be seen as yet
another demonstrationof Domenico's facilityfor treating
with infinite variety a subjectof seemingly limited, and
limiting, potential.

48 * ATTRIBUTED TO GIAMBATTISTA TIEPOLO

Philosopher, mid- to late I74os (?). Oil on can-

vas. Bob Jones University Gallery of SacredArt
and Bible Lands Museum, Greenville, South
Carolina
Aversion of this painting (ArtInstitute of
Chicago),an exampleof the TestediFantasia, ,J;
hasbeenattributedto Domenico.

49 * Raccolta di Teste:Head ofa Philosopher, \

1774. Etching, 55/ x 41/4 in. (I4.3 X IO.7 cm).
Rogers Fund, I922 (22.8I.53)
The subjects of the Raccolta di Teste were not
specific individuals but generic types. The longL
beardandclosedbookin this printandin the _ i*
painted version on which it is based (fig. 48) ... .-r . ,j
identifythe manas a philosopher. r

-
i.^Tg^'I

*34*
 IG

J2

,
j

"
'r ? ?,?
L
-----.

"
re.
d\

?rs'? ..

above, left
50 * Raccolta di Teste: Head of a Turk, 1774. Etch-
ing, 413/16X 39/6 in. (12.2 x IO.4 cm). Rogers Fund,
1922 (22.81.74)

above
51 * Raccolta di Teste: Head of an Old Manwith a
Hat, 1774. Etching, 9 x 4 2 in. (I5.2 x 1.4 cm).
Rogers Fund, I922 (22.81.54)

left
52 * Raccolta di Teste: Head of an OldManwith a
Hat, I774. Etching, 55/6 x 41/8 in. (I3.5 x 10.4 cm).
Rogers Fund, 1922 (22.81.78)

*35*
 The Raccolta di Testehas as its most immediate proto-
type two etched series of male heads in oriental headdress
by Castiglione (fig. 55). The Genoese artist'simportance
for the Tiepolos has alreadybeen noted, and it is probable
that among the fifty-twoetchings by "diversemasters,"
including Castiglione, in the sale of Domenico's print
collection were plates fromthese two series. Rembrandt's
etchings of bust-length Orientals andbeardedphilosopher
- k types (fig. 53), models for Castiglione, also provideda
stimulus for Giambattista'sand Domenico's pictorial
investigations of the theme. It is no wonderthat the Vene-
-
tian publisherand print dealerA. M. Zanettithe Elder
. ;
p
|?4-. wrote in 1757of the Raccolta di Testethat "there are some,
among them, for which Rembrandtand Gio: Benedetto
Castiglione, could they but rise fromtheir graves, would
embracethe man who made them."
Avirtual genre of characterand fantasyheads existed
in eighteenth-centuryVenetian art, exemplified, among
other works, by the painted heads of philosophers and old
women by Giuseppe Nogari, the beautiful chalk tgtesdes
caracteres(characterheads) of Piazzetta, and the marble
* REMBRANDT VAN RIJN
53 busts of bravi (imaginaryportraitsof swaggeringyouths)
Old Man with a Divided Fur Cap, 1640. Etching and drypoint,
and of old men in differentguises by OrazioMarinali.With
6 x 53/8 in. (I5.2 x I3.7 cm). Gift of Douglas Dillon, 1983
(I983.II40.3)

54 * JEAN-HONORE FRAGONARD
Head of an Oriental, 1775. Bistre wash over black chalk,
I35/8 x IO in. (34.5 X 25.5 cm). Inscribed at center right:frago
1775.Musee du Louvre, Paris, Cabinet des Dessins (inv. 26645)

~~I"IN~~~~~~~~1

:^ I|

Ii _

55 * GIOVANNI BENEDETTO CASTIGLIONE

Head of an Oriental, late I64os. Etching, 7 x 5 3/16in.
*SL ~ 8b d
(17.8 x 14.9 cm). Purchase, Joseph Pulitzer Bequest, 1917
(17.50*.17-5)

*36 *
his TestediFantasia GiambattistaTiepolo also playedto prints dedicatedto Pope Pius VI and entitled "Catalogue
the audiencefor such images. OutsideVenice, a practitioner of variousworksinvented by the famous Giambattista
of the genre was Jean-HonoreFragonard,whose familiar- Tiepolo at the court of H.C.M. [KingCharlesIII], who
ity with the Tiepolos' ruminationson the theme is readily died in Madridon 27th of MarchI770, with 25 plates
discernedin the paintedheads of old men that he produced engravedby himself, the others havingbeen engraved
in the I76os followinghis firsttrip to Italy.Fragonardhad by his sons Giandomenicoand Lorenzo, owned by
studied and copied Giambattista'sworkin Venice and Giandomenicoas well as other worksof his" (fig. 56). Per-
Vicenza,andhe alsoundoubtedlyknewDomenico'sRaccolta haps sensing that the nascent artisticrevolutionthreatened
etchings, paraphrasingsome in his own drawingsof heads to sweep frommemoryhis father'sgreat achievements,and
of Orientals (fig. 54). Tappinginto the popularityof this long havingrecognizedthe valuablerole prints playedin
genre with his prints, Domenico was also fundamentalto makingthe works of their authorwidely and permanently
its disseminationoutside Venice, at the same time com- known, Domenico producedthis corpus as the final,
memoratingGiambattista'scrucial contribution. crowningchapterof his printmakingactivityand as a last-
In a more carefullyorchestratednod to posterity, ing tribute to Giambattista,whose style he doggedlyper-
Domenico, in I775, published another edition of Tiepolo petuatedinto the last daysof the VenetianRepublic.

56 * The Arts Paying

Homage to the Authority of
? --
Pope PiusVI, 1775. Etching,
4:f^J^i^. 'I67/8 x X I2/2 in. (43 x 31.6 cm).
. i? Rogers Fund, I922
(22.8I.43)
This print is the frontis-
'i ^\l
piece to the 1775 edition of
iL i g~ : the complete prints of
Giambattista, Domenico,
v. and Lorenzo Tiepolo. The
ornamental border was
,; .~ added to the plate by a later
.,_; .~ ,~ etcher.
.~

*37 *
 An altarpiecerepresentingthe Holy Familywith Saint
pffkzC(~.Frances of Rome and Saint Eurosia(fig. 57), which is
l *,; 6 . .signed and dated 1777,recalls Giambattista'smonumental
A}is ~ "s^~ 4~
~~''religious paintings in its compositional format,figure
types, and costumes, although the sweet, gentle expres-
sion of the Virgin invests her with an accessible human
flHBj ,^ tI?~ 1~ t~ ^quality that his father's aloof Madonnastypicallylacked.
fy yylDomenico
,^ ^ produceda carefuldrawingafter his painting
--_n^jJV(fig.
f^M^- ^>3 F> 58); now in the MetropolitanMuseum,this attractive
t~~
,^"^J*~~
*BH^ f sheet is of particularinterest in recordingthe original
D^~
J^~
.i-^~ .^ # "appearance
--_^~ of the altarpiecebefore the additionof the
I,r ^12X~/f~" ~
W~ Ikneeling angel at the lower left by the obscureNeoclassical
^^ ^UyIt~ ir -Apainter Giambattista Mengardi(1738-1789).

.HI

'. J .

57 The Holy Family with Saint Frances of Rome and- -

Saint Eurosia, 1777.Oil on canvas. San Nicol6, Padua
This altarpiece was originally painted for the now- ;k - ^ \
deconsecrated church of Sant'Agnese, Padua. '1/

58 ?The Holy Familywith Saint Frances of Rome and \

Saint Eurosia. Pen and black ink, graywash, over traces of X .
black chalk. Framing lines in pen andblack ink. 13%x 6\ ,8
in. (33.3 x6.7cm). i
Rogers Fund, 1937 (37.165.66) i
Saint Eurosia, the elegantly garbed figure kneeling at the i , -' - '
right, was invoked for protection against inclement .' -
weather. Here she is identified by the lightning bolt pierc-\
ing her breast. This attribute floats above her head in the i .
''.,
painting (see fig. 57).

I- i< * x.? \a e -
opposite
59 * Virtue and Nobility, I780s. Oil on canvas, 2I x 15 4 in. ,'/
(39.I x 53.3 cm). Gift ofJ. Pierpont Morgan, 1906
(07.225.297)( v

With the exception of Ignorance (shielding her eyes), the '

principal figures in this sketch recur, in a slightly different . -
arrangement, in Domenico's ceiling fresco in the Palazzo. ' I
Caragiani, Venice (see fig. 60).

*38
r

v-
11..

*39*
 The Museum's oil sketch of Virtue and Nobility (fig. 59),
'OP possibly a study for a ceiling decoration (fig. 60) in the
Ci8iii-
jl
.?'i '' ? ?F4\
Palazzo Caragiani, Venice, painted some twenty years after
?- ?It;?- /f
Domenico's return from Madrid (ca. I790-95), or for some
1?: ? ' ? ?T, \
other late work, again shows his staunch adherence to his
:.
father's style, here in a secular mode. The disposition of
the figures and the allegorical subject relate closely to a
\L
?3ri-sC' ? P
Ir-:?vr?
...*
b number of variations on the theme of Fortitude and
n P Wisdom painted by Giambattista in the I740s, particularly
?i ?--?.,.
a ceiling decoration from the Palazzo Manin, Venice (now
ie a.rL1

z in the Contini-Bonacossi Collection, Florence, it was

cac, ;i I .. reproduced by Domenico in an etching [fig. 62]), that like-
?i" J. wise includes the figure of Ignorance surrounded by bats,
17 -i t
'Q ;1' ...-?. creatures of darkness. Domenico again treated the subject
I ,?T ?aa.' ?

t T_r I in a late pen-and-ink study in the Lehman Collection

?'!z
C1PL"
./r ,J
(fig. 6i) that is conceivably also connected with the Palazzo
;.?
.?
c?? r- ldi
Caragiani ceiling. The composition of the painting is
'
vastly simplified in comparison, but the allegorical figures
b

of Wisdom, Nobility, and Fortitude, as well as a winged

?
/ trumpeting angel signifying Fame, recur in the drawing,
*,* t and the round pictorial field indicated at the lower edge of
" -Y'-
b -,a the sheet echoes the oval format of that late work.
-- -I iv
j
Like so many other paintings now ascribed to the
younger Tiepolo, the Virtue and Nobility bozzetto has in

a-

-Y.?

60 * Allegory of Nobility, Wisdom, and Fortitude,

ca. I790-95. Fresco. Palazzo Caragiani, Venice

6i * Sketch for a Ceilingwith an Allegory of

Wisdom, Nobility, and Fortitude, ca. I780-85. Pen
and brown ink, brown wash, over black chalk; io '3 L-
.r? Ag ='?
73/8 in. (25.5 x I8.9 cm). Robert Lehman i:? ? ?h.'
Collection, I975 (I975.1.482) Y )i
1 it
i... , ,
e;e
-r.X
The very ragged penwork indicates a late date for jf? I'
"
this drawing.
i i L1
r, .d

j! ??T/1'3F Ir':.?e'? ?4,,

*40 *
 6a * Triumph of Virtue and
Nobility, 1749-50. Etching,
57/8 x 9 in. (40.4 x 48.3 cm).
Rogers Fund, 1922 (22.81.89)

Domenico's etching, to
which he later gave the title
Triumph of Virtue and
Nobility, reproduces
Giambattista Tiepolo's ceil-
ing painting, executed in the
I74os (Contini-Bonacossi
Collection, Florence).

the past been attributedto Giambattista.Domenico's emu- Swayer,a wealthypatronin Venice, the artistreportedon
lation of his father'sartisticidiom, as well as his adherence his arrival in Genoa on March 3, I785, and on his warm
to Giambattista'spractice of producingpreparatoryoil receptionby an official delegation of the Giustinianifam-
sketches for large-scalepaintings, is manifestonce again. ily. Equallysolicitous, he recounted, was the Genoese
Emulationhere takes on an almost formulaiccharacter, doge, who "hadme sit at his side, althoughhe was occu-
however,and it must be acknowledgedthat in such late pied with various senators, and honored me with a coffee."
worksDomenico's limited resourcefulnesswhen working Domenico's description of this encounterreflects not only
on a monumental scale, constrainedby the equallylimited the high esteem in which he was held by his Genoese
imaginationof his patrons,becomes ever more apparent. employersbut also the great significancethey attachedto
In no other campaignof Domenico's late careerdid the vast ceiling fresco he was aboutto begin.
his standingas GiambattistaTiepolo's artisticheir serve Aside fromprotractedvisits to WiirzburgandMadrid
him so well as in that for the grandceiling of the main in the companyof his father,the trip to Genoawas one of
council chamberof the ducalpalace at Genoa, one of the the rareoccasionswhen Domenico venturedoutsidehis
artist'smost complex and ambitiousworks. Representing nativeVenice. Sucha prestigiouspublic commission- one
the Glorificationof the GiustinianiFamily,this fresco, thatwould affordhim the opportunityto workon the monu-
now lost, replacedan elaborateBaroquedecorativecycle mentalscale of GiambattistaTiepolo'sgreatfrescocycles-
by the Bolognese painterMarcantonioFranceschini andhis fee of I8,ooo Genoeselire madefor a suitablytempt-
(1648-1729) that was executed in I702-4 and consumed by ing offerto lurehim fromhome. As the choice of Domenico
fire on November 3, I777. Domenico was awarded this indicates,his patronsintendedthat the new ceiling be exe-
commission as the result of a competition announcedon cuted in the GrandMannerof Franceschini'sdestroyed
August 3I, 1783, to which fifteen painters submitted frescoes, andin this the artistdid not disappoint.His alle-
sketches. Now in the MetropolitanMuseum,his contribu- gorical pageant,which conformsto the specifiedicono-
tion (fig. 64) was judged "rich in ideas, of daringforeshort- graphicscheme, unfoldsin an infinitelight-filledskyframed
ening, full of contrasts, and effortless in the handling of by a steppedbalustrade.The spaceis populatedbyputti,Vic-
the brush"andwas proclaimedthe winning entry on tories, anda dense assemblageof animatedfiguresdeployed
August 23, 1784. Even this late in his career, Domenico's amongarchitecturalelements in a series of tableauxallud-
artistic and paternallineage carriedconsiderableauthor- ing to the historicaltriumphsof the Giustinianifamily.The
ity, as the judgesweighed in his favor"the glorious pictor- design and conception arefullyindebtedto Giambattista's
ial heritage of his father." inventionsof this type (fig.63), but Domenico'sfiguresare
In a deferentialbut chattyletter sent to Amadeo even more audaciouslyforeshortened.

*41 *
 opposite
64 * The Glorification of the
L^ &LLr " '- -7Jl Giustiniani Family, 1784.
C9F Oil on canvas, 46 x 321/ in.
i, (Ii6.8 x 802.6cm). Inscribed:

*^'' I- ,*t { (on log) Mz; (on bale) JA;

(on box) BT; (on banner sus-
pended from trumpet)
Is on VIRTUS(virtue); (on scroll)
CIVITAS CHY(city of Chios)/
.--$ 4I V.I. (VINCENZO GIUSTINIANI)
/1562. John Stewart
Kennedy Fund, 1913 (I3.2)
Attended by a Victory figure,
Jacopo Giustiniani, a 15th-
century naval hero, is seen
at the top of the stairs pre-
senting a sword to a personi-
fication of the Ligurian
Republic. Two banners bear
the coats of arms of the
Giustiniani family and of
the city of Genoa. The
turbaned female figure in
Greek dress at the left repre-
sents the Greek island of
Chios. The inscriptions on
her scroll, v.i. and 1562, refer
toVincenzo Giustiniani,
Genoese governor of the
island before its fall to the
Turks in 1566. At the upper
left are eighteen Giustiniani
martyrs massacred by
Turkish invaders. An allego-
ry of Christian faith-the
figure holding a cross and
chalice at the left-refers to
the Catholic conquest of
Chios before the Turkish
invasion. The figures in
oriental garb on the right
allude to the commercial
activities of the Giustiniani
in the Greek Islands and Asia
Minor. Finally, personifica-
Like Giambattista at Wirzburg and Madrid, Domenico 63 * GIAMBATTISTA TIEPOLO tions of Justice, Commerce,
based his imagery on an abstruse written program, and his Allegory of the Planets and and Fortitude surrounding
Continents, 1752. Oil on the two-headed god, Janus,
work progressed exactly according to his father's artistic
canvas, 73 x 547/8in. (I85.4 symbol of Genoa, appear at
process, moving from preparatory drawings to full-scale x 139.4 cm). Inscribed on the the upper right, where
cartoons (their existence is mentioned by Domenico in the sides: EVROPA/AFRICA / Neptune presents the riches
letter of March 3 cited above) and envisioned in its chro- AMERICA/ASIA. Gift of Mr. and of the sea to the city.
matic and compositional totality in the painted bozzetto. Mrs. Charles Wrightsman,

Although the result, insofar as it can be judged from the I977 (I977.1I3)
Museum's oil sketch, may have lacked Giambattista This splendid sketch is a
Tiepolo's poetry, it was nonetheless one that no other study for the Apollo and the
Four Continents fresco in
painter of the day could have rivaled.
Unveiled on November 14, I785, Domenico's ceilingwas Wiirzburg (see fig. IO).

roundly praised, but its acclaim was short-lived. By the early

nineteenth century, with Neoclassicism fully ascendant, the

*
*42
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$7-
, *4

!_f-*' '.R !1'

*
*43
 65 * SaintAnthony of Paduawith the
Christ Child, in an Interior, after 1770.
z ,,,
Pen and brown ink, brown wash; 9 %x
i. rl
7 in. (24.4 x 17.7 cm). Signed in brown
c ink, bottom center: Dom? Tiepolof.
Numbered in brown ink, top left: 74.
7 j A Robert Lehman Collection, 1975
a I
ia-
) ,' (1975.1.480)
v'` err
" )l :
9 r
e' '11
The series to which this drawingbelongs
numbered at least 125 sheets. Most show
\i/
i,'/., ,! ~ the saint in glory surrounded by angels,
'? ?S->
but a few have as the setting a chapel or,
as in the present example, a sparse
monastic cell. Domenico executed a red
-'-^ and white chalk record drawing of
Giambattista's painting of Saint
'* ' - Anthony of Paduawith the Christ Child
(Museo del Prado, Madrid). That late
work, completed shortly before his
It father's death in Madrid, became the
osp,--... point of departure for Domenico's many
painted and drawnvariations.

i
. r
w

workwas judged old-fashioned,and its obscure allegory Domenico's late drawings;a particularlycharmingexam-
and facile perspectivewere singled out for harsh criticism. ple is in the LehmanCollection (fig. 65).
Avictim of neglect, the fresco was allowedto fall into an A man of meanswho no longer needed to work for a
irretrievablestate of disrepairandwas finallydestroyedin living, Domenico, by 1790, had all but abandonedpainting
i866, less than a century after its creation. andretreatedinto the fantasyworld of his own imagination,
Notwithstandinga handfulof importantpublic com- concentratinghis efforts on the decorationof his villa at
missions of his later career,such as the Genoa ceiling and Zianigo and the extensive masterfulseries of drawingsfor
the GloryofPope Leo IX(I783) in San Lio, Venice, the which he is most appreciatedtoday.These drawings,in
publication of the collected prints, and a term as president which his native gifts for storytellingand inventiveness
of the VenetianAcademy(1880-83), Domenico Tiepolo shine andhis witty observationsof the nuances of Venetian
became an increasinglyprivate artist in the last decades of life abound, are the focus of the remainderof this essay.
his life. His diminishing energies as a painterwere chan-
neled into the productionof small-scaledevotionalimages
of tender, intimate themes, especiallyJoseph and the
Christ Child, the Madonna,and SaintAnthonyof Padua.
Domenico's depictions of SaintAnthonywere inspired
by a late painting by Giambattista,one of the last works
completed before his death. The subjectis also found in

*44 *
DOMENICO TIEPOLO'S LATE portraits,or tetesdes caracteres,of the I740S. However,
there is no contemporaryevidence that Domenico's late
DRAWINGS
drawingswere widely dispersedin his lifetime. Moreover,
that so manyof the sheets were numbered-quite possibly
Domenico Tiepolo began and ended his professionallife by the artistwhen he addedhis signature-and that large
as a draftsman.In 1743, at sixteen, he undertook at the concentrationsof thematicallyrelateddrawingsremained
behest of FrancescoAlgarottihis earliest documented together in subsequentcollections long afterhis death
artistic efforts, copy drawingsof paintingsby Titian and suggest that he retainedthem, as he did the albumsof his
PalmaVecchio. Oversixty-fiveyears later, at the turn of father'sdrawings.In the absence of another compelling
the new centurywhen he was an old man, he producedhis explanation,the one proposedby JamesByamShaw,in his
brilliant series of drawingsof the commediadell'arte char- pioneering I962 studyof Domenico's drawings,seems the
acter Punchinello (see pp. 59-67). Indeed, long before his most likely:that the semiretiredpainter and consummate
gifts as a painterwere acclaimedin recent decades, storytellerproducedthese workschieflyforhis ownpleasure.
Domenico's prolific talents as a draftsmanwere widely
celebrated.An apt and sympatheticcharacterizationwas
offereda century ago by the marquisde Chennevieres,
who, in an earlymonographon the Tiepolos, described
Domenico as a "chatterboxof drawing,the most seductive
and inexhaustibleof chatterboxes."
The works discussed in the remainingpages all date
fromthe period after Domenico's returnfrom Spainin
I770, and manyare fromthe last fifteen years of his life.
Theywere producedin large series, most numberingover
Ioo sheets, and some ranging as high as 250 or more
examples.These series fall into four classifications,all of
which are representedby fine examplesin the Metropoli-
tan Museum:sacredthemes, profanesubjects,the contem-
poraryscene, and Punchinello. Domenico's favored
mediumwas pen and ink with wash (the tone varyingfrom
darkocher to rich sepia), and sketchyblack-chalkunder-
drawingfrequentlyoccurs (see fig. 71). Drawingsof a
series are in the same formatand of roughlycomparable
dimensions. Manybear numerical annotationsin
Domenico's hand, and almost every sheet is signed.
In these late graphicworks Domenico derivedinspi-
ration andborrowedmotifs freely from a numberof
sources, including Giambattista'spaintings and drawings,
his own earlierdesigns, and the vast collection of prints
assembledduringhis father'slifetime, which he possessed
until his death. The purpose of the drawingsis elusive.
While some correspondto Domenico's paintings, they are
almost certainlynot preparatorystudies in the traditional 66 * GIAMBATTISTA TIEPOLO

sense; the points of correspondenceseem instead to con- Beheading of Two Male Saints. Pen and brown ink, brown
stitute instances of his well-establishedpenchant for wash, heightened with white, over black chalk; traces of red
chalk at upper and lower right. 19 3/4X 41/2 in. (50 x 36.8 cm).
self-quotationand his recyclingof stock charactersfrom Rogers Fund, 1937 (37.I65.14)
the Tiepolo repertoire.A numberare fullyworked-up
designs executed in a richly pictorial graphic style and
thereforehave the characterof independentinventions.
It is possible that some of these sheets were produced
as gifts or for sale on the art marketin Venice, where a
long-standingtaste for finished presentation drawings
enduredwell into the eighteenth century-as demon-
stratedby Giambattista'selaboratelarge-scaledrawingsof
the I730s (fig. 66) and by Piazzetta's highly finished chalk

*45*
 .

Sacred Themes originallynumberingas manyas 250 sheets, known as the

God the Fatherwith Angels, Saint Anthonyof Paduawith LargeBiblical series. Producedin the last years of the eigh-
the ChristChild (fig. 65), andthe Baptismof Christ(fig. 67) teenth century, near the end of Domenico's career,they
were the most frequentreligious subjectsin Domenico's have been characterizedby ByamShawas "essentially
late drawings.Cherubs,who could assume a sacredor a 'albumdrawings,'intended not as studies for painting or
profaneguise, also populate manyof his late pen studies etching, but as works of art in their own right." Abound
(fig. 68). Like his variations on secularmotifs, these suites albumof I38 such sheets, the RecueilFayet,is in the
constitutedgraphicreflections on a single theme, repeated Musee du Louvre,Paris, and others exist in numerous
with seemingly endless invention in a mannerreminiscent public and private collections. A few represent Old Testa-
of his earlyFlight into Egypt series and analogousto the ment subjectsbut most are drawnfromthe Gospels and
Raccolta di Testeetchings. the Acts of the Apostles, as well as fromfragmentaryapoc-
One highly important concentrationof drawingsof ryphalgospels that seem to have been well knownto artists
sacredthemes stands out in being a circumscribedseries in the eighteenth century.
but comprising manydifferentsubjects.This is the Twofine examples of Domenico's LargeBiblical
extraordinarygroup of large-scale,painterlydrawings, drawingsare in the Lehman Collection (figs. 69, 70).

67 * The Baptism of Christ (with Three

Angels Attending Him), after I770. Pen
and brown gray ink, brown graywash;
II 8 x 75/8 in. (28.3 x I9.4 cm). Signed in
brown ink, bottom left: Dom? Tiepolof.
Robert Lehman Collection, 1975
, -
r -?.-'
*' . "./< '
(1975.1.478)
* : w
- ^ , Domenico is believed to have executed
.^ . ,
over ninety drawings of this subject,
I, ,
.,- .- - jl~_', t' seven of which are in the Museum's col-
lection. A lost painting by Giambattista,
known through an etching by
Domenico, may have provided the
inspiration for the series. Domenico's
own painting of the Baptism (Museo
Stibbert, Florence), datable to the
I770s, contains numerous similarities
to various drawings from this group.

1
Ap
<-;
i C_^

-\

*46*
Representing the Rest on the Flight into Egypt and the
Betrothal of the Virgin, they typify the entire series in I
-^ \ .v_<
A%;
their upright format, dense compositions, elaborate X X /i
architectural and landscape settings, high degree of fin- ? 1 I
ish, and the relatively diminutive scale of the figures in
proportion to the overall design. A graded range of tonal
washes covering the whole sheet and the brilliant use of
isolated areas of untouched paper to suggest projecting
volumes and highlights contribute to the pictorially rich
character and atmospheric effect of these graphic master-
pieces. And, as usual, unabashed quotations from his ear-
lier inventions, as well as from those of Giambattista
Tiepolo, routinely crop up, as Domenico freely indulged
in the art of paraphrase that he had perfected over the
~L%-? ~-~i;C;?li~C~;?
past half-century.

68 * Cupid Blindfolded, on
a Cloud Supported by Two
Attendant Putti, after
1770. Pen and two shades
of brown ink, brownish
graywash; 71/4 x 95/8 in.
(I8.5 x 24.5 cm). Robert
Lehman Collection, 1975
(1975.1.485)

69 * The Rest on the Flight

into Egypt (with a
Truncated Pyramid on the
Right). Pen and brown
ink, brown wash, over
black chalk; I81/ x I47/ in.
(47 x 37.9 cm). Signed in
brown ink, bottom left:
Dom? Tiepolof. Robert
Lehman Collection, 1975
(I975.1.474)
The seated Virgin is based
on the same figure in the
first plate of the Flight
into Egypt etchings,
although the pose of the
Christ Child has been
altered slightly. A truncat-
ed pyramid, a favorite
motif of both Giambattista
and Domenico, occurs in
another plate from that
series (see figs. 24, 75).

*47*
 (iS'rS;'IL6) S26i 'uop3aIjOD upumqiaLja:qo-t 'ojo.,dj, oUO
:Xq42 wBuunlIoo o: poqo3NB ladBd B uo AU.t u MOTqUl paUTSI
IaAo ' qsBM UMOjq
*(u o 9 'g x '8gt) 'UTv/xSI x 6I 3Iqo3 t[3BIq
'AU uM
Loq puB uad -oZZTIIjj 'u.JiA aq 1Jo Ireoqlona aqL, * o

j
MythologicalFigures
Scholarshave observedthat Domenico's drawingsof
pagan and mythologicalfigures recall monumental sculp-
ture both in their subjectand in the plastic treatmentof
.s
forms. In his numerous studies of Herculesbattlingthe I,
earth giant Antaeus (fig. 7I), the protagonists are on a % <I

base or ledge reminiscent of the pedestals of gardensculp- .. -y?

. s

tures or of the balustradesof Venetianvillas, which were

usuallyadornedwith statues of deities, allegoricalper-
sonifications, and rustic figures. The summarilyrendered
landscape, conspicuously lacking the descriptive detail
on which Domenico lavished much attention in his other
series drawings,also seems to evoke a garden setting.
Herculeswas a favorite subjectfor Venetiangardensculp-
ture, occurring frequentlyin the work of Domenico's con-
temporaryMarinali(fig. 72) and in that of other sculptors
of the period. Although it has been suggested that
Domenico's inspirationfor the Hercules drawingsmay
have been a statuette of Hercules and Antaeusby the
Renaissancegoldsmith Antico (ca. 1460-1528), or, more
remotely,an antiquemarbleknownin Florence since the
late sixteenth century, an immediate and relevantmodel 4 -

undoubtedlypresented itself in these ubiquitousVenetian

settecentovilla garden sculptures. I ?
I
Highly sculpturalin conception are the standing . I"^ 4

pagan deities and heroes in a large series that originally

consisted of roughlyone hundredor more sheets, of which
six are in the Metropolitan(see figs. 73, 74). Isolated on
pedestal-likebases against neutralbackdropsand outfitted
with supporting struts disguised as draperiesor rocks,
these figures,with their hardcontours and surfacesakin to
polished marble, are even more evocative of sculpture.
Parallelsagain exist in the work of Marinali,whose vast
repertoire of gardenfiguresincluded Leda, the subjectof
two of Domenico's drawingsin the Museum'scollection
and of a villa garden sculpturedepicted in a scene fromhis
Punchinello series. Although no worksbased on these
standingdeities and heroines are known, it is not implau-
sible that the drawingswere conceivedwith gardenstatu-
aryin mind, Domenico here followingin the tracks of
GiambattistaTiepolo, who designed sculpturesfor the
gardensat Villa Cordelina,nearVicenza.

71 * Hercules and Antaeus (with a Ledge Below), after I780.

Pen and brown ink, graywash, over black chalk; 77/8 X 5/2 in.
(20 x 14 cm). Signed in brown ink, bottom right: Dom? Tiepolof.
Robert Lehman Collection, I975 (I975.I.491)

72 * ORAZIO MARINALI AND WORKSHOP

Hercules and the Nemean Lion, mid-i8th century.
Villa Trissino, Marzotto (Vicenza)

*49 *
73 * Meleager, Turning to the Right, after 1770. Pen and brown
ink, graywash, over black chalk; Io /8 x 63/4 in. (27.6 x I7.2 cm).
Signed in brown ink, bottom right: Dom? Tiepolof. Numbered *
i..
(

in brown ink, upper left: 30. Robert Lehman Collection, 1975 .,I

(1975.1.490)

. ,
o.,:. _. ,

4
_

l* -

t'
right, above
74 * Leda, after I770. Pen and brown ink, brown wash, over
traces of black chalk; o1 x 53/8 in (25.5 x 13.6 cm). Signed in pen
and brown ink, bottom center: Dom? Tiepolof. Gift of Robert
Lehman, 1941 (4I.187.5)

right
75 * GIAMBATTISTA TIEPOLO
Scherzi di Fantasia: A Satyr Family. Etching, 8 7/ x 7 in. (22.4
x I7.7 cm). Purchase, The Elisha Whittelsey Collection, The
Elisha Whittelsey Fund, Dodge and Pfeiffer Funds, and Joseph
Pulitzer Bequest; and Gift of Bertina Suida Manning and
Robert L. Manning, 1976 (I976.537.2)
- ..
'<,
IV %-, Ad'o?

*50 *
 76 * Satyr Leading a
CentauressWho Holds a
Satyr Child, after I770. Pen
and darkbrown ink, dark
brown wash; 71/2x 0 3/4 in.
(19 x 27.3 cm). Signed in
brown ink, lower left: Dom?
Tiepolof. Rogers Fund, I937
(37.165.61)

Satyrs and Centaurs and portrayed the two groups, both separately and
Satyrs and centaurs provided Domenico with subjects for together, in atmospheric landscapes. Often they playfully
one of his most engaging large series of drawings. Satyrs, and peacefully interact (fig. 76), but in some of the draw-
satyresses, and their faun offspring had long been part of ings the bestial nature of the centaurs is allowed to go
Giambattista's repertoire, appearing in an early group unbridled (fig. 77). Hunting and warfare are primary occu-
of paintings (Horne Museum, Florence) and in three of the pations of the centaurs, signaled by the weapons they carry
Scherzi (see fig. 75). Domenico added centaurs to the cast in many of the compositions, while the satyrs engage in

77 * Centaur Abducting a ..
Nymph, after I770. Pen and
brown ink, brown wash, over
traces of black chalk;
in. (I9.5x 23.I cm).
75/8%91/8
Signed in brown ink, lower <
center: Dom? Tiepolof.
Rogers Fund, 1937 (37.165.57)
The satyr and centaur series ./ X
originally numbered over
one hundred sheets. Fifteen
are in the Metropolitan. One
'
of the rooms of Domenico's .
villa at Zianigo was decorat- .
ed with frescoes of centaurs '9 4
(I791), and another, satyrs
(completed I77I).

onro
Oh, ..
& . ':/W / <
i, \
., -
<<

,5/5
,-: "7-
C_ I?~ ljf~LI

*51 *
 4*
I.

78 * Satyrs Carrying Baskets of Provisions for Their Families, less bellicose acts of gathering provisions and merrymak-
after I770. Pen and brown and gray brown ink, gray brown ing (fig. 78).
wash; 75/8X I7/8 in. (19.4 x 27.6 cm). Signed in brown ink, All these activities recall the pastoraldiversionsof
bottom left: Dom? Tiepolof. Robert Lehman Collection, 1975
villegiatura(manyVenetianvillas functioned nominallyas
(I975.1.497)
workingfarms),while the mythicalcreatureshad, since
The fortress in the distance at the right occurs in many of the Renaissance, carriedallusions to a vanished arcadian
Domenico's compositions and is reminiscent of the citadel of
golden age that villa life was meant to evoke. When deco-
Brescia, near Venice, where the artist worked in the mid-I75os.
rating his ownvilla, Domenico chose satyrsand centaurs
as the subjectfor two of the rooms, and satyrsappeared
earlier as feigned marbleor stucco overdoorsin the Stanza
delle Scene Campestriin the Foresteriaat Villa Val-
marana.As in A Dance in the Countryand the Valmarana
frescoes, some referenceto the rustic culture of ville-
giatura, with its overtones of a golden age, should thus
perhapsbe recognized in the satyrand centaur drawings.
That this lost age could be recapturedthrough the virtues
of a simple life was enunciatedby the eighteenth-century
Venetianwriter andjournalist GaspareGozzi, who
reflected in the Gazzetta Venetaabout I760 that "the
golden age, which some believe never took place, not only
existed, but is still to be found in the present in some
places. Whereverthere is simplicityof costume, a rustic
quality,... and milk and fruit instead of other
provisions- thereis the golden age."

*
*52
 I /H

'
'. , f . j

'* ' '

e.-
i

W.

.4

v* bv #; - *e

j,? V I -
A -
i~ _I - E

Q. " r'"
._-
- _J .
I

l't ,v, q-^

OrientalHorsemenand Horses
Domenico's drawingsof oriental horsemen and horses robed, classical, magus types, whose turbanssuggest
reflect the contemporaryfascinationwith tales of exotic Zoroasterand other ancient Easternphilosophers,
Easternromance, a taste that also informed Gianantonio Domenico's horsemen assume a more modern guise. Their
Guardi'ssmall paintings of Turkishsubjectsand some of long mustaches and featheredturbansidentifythem as
CarloGozzi'sfiabe, among numerousother pictorial and Turkishwarriorsor pashas. In some of the drawingsa
literaryworks of the period. As alreadyobserved, Orien- Moorishgroom is present (fig. 79); andthe horses,
tals appearedin Domenico's art fromthe very beginning describedby ByamShawas "heavyin neck and shoulder,
andwere also omnipresentin GiambattistaTiepolo's but with a smallhead and absurdlylong, stiff forelegs," are
paintings, drawings,and etchings. But in contrastto those of a distinctlyArabtype.

79 * An Oriental Chieftain Resting, after

1770. Pen and brown ink, pale brown
wash, over black chalk; 7% x Io% in. (I9.9
x 26.8 cm). Signed in pen and brown ink,
lower right: Dom? Tie (the rest cut away).
Numbered in pen and brown ink, upper left:
69 (?, partly cut away). Fletcher Fund, 1935
(35.42.I)

80 * Oriental Lancer Approaching a Town,

.
i
after 1770. Pen and brown ink, pale brown
,

wash, over traces of black chalk. Framing

,
.
lines in pen and brown ink. i V4x i6 %in.
(28.6 x 4I.I cm). Signed in brown ink, lower
.
?..o

I I
.'. left: Dom? Tiepolof. Rogers Fund, 1937
Ir. ',-, -- c
I, . *- ->j ^ ~. I (37.65.67)
- ..
'.~

\4'tv -., -,
. '
- .*r_-
~,:

*
*53
 81 * Elephant in a
Landscape, after 1770. Pen
and brown ink, brown wash,
over black chalk; 7 8 x 95 in.
.,'* -':,;
:-- -. ?.
" (18.1 x 24.3 cm). Bequest of
i- ,= ;} ^'.' .x X Eva B. Gebhard Gourgaud,

46 in (8. x 10.8 cm)an elephant (immortalized

in a painting byPietro

83
l[t3 .* Ei;.~+9< Longhi) in Venice during
Carnival in I774. This is not

.,,,

' '

; -~ o-.,
r

8a * STEFAN0 DELLA BELLAt r o

Three monkeys correspond to thosei in the etching

overblack x dii in. (i8.2 x 28.3 cm).
wash,
Bequest, 9Bella(fig.chalk;
8507-2)7?
Signed in brown ink, bottom right: Dom? Tiepolof.
Robert Lehman Collection, Two (1975.1.528)
84 * EABu Lying Down, and 1975 Donkeys, in a
Landscape, after 1770. Pen and brown ink, brown
to those in the
o p i. t
Three monkeys correspond aetching s,
b dellaBella (6oI66). F <

84 +ABullLyingDown,andTwfvo
--' ina
Donkeys, iis it' rI
Landscape, after I??o. Pen and brown ink,'brown '3 "
11t

wash, over black chalk; 7'/ x II 1/ in. (18.7 x 28.2 cm).

Signed in brown ink, bottom right: Dom? Tiepolof.
Robert Lehman Collection, 1975 (I975.I.519) ; = ,

One of the donkeys is copied from the Beesteboeckje

- -
(Book of Animals) by the German Johann Heinrich
Roos (I63I-I686).

*54 *
 '

Animals
Domenico took great delight in his animaldrawings
(opposite; see also fig. II). In these he quoted liberally
and shamelesslyfrom a wide range of sources, primarily
prints in his collection by artists such as Stefanodella Bella
(fig. 82), Castiglione, and the GermansJohannElias
RidingerandJohannHeinrich Roos, both of whose works
he mayhave acquiredin Wiirzburg.Animalprints evi-
dentlyheld a particularfascinationfor Domenico: his col-
lection also included prints of sheep and an ass, as well as
other animalsin landscapes,by CarlDujardin;animalsand
a dog by JanFyt;twenty-sevenprints of differentanimals
by Nicolas Berghem;and severalafter PaulusPotter.Some
membersof Domenico's bestiaryinhabitlandscapes, and
others are silhouetted on ledges or pedestal-likebases
(see fig. II), recallingthe porcelainfigurines that gained
widespreadpopularityin the eighteenth century.Animals
in landscapeswere paintedby the artistin one of the rooms
of his villa at Zianigo. Once again, however,his drawings
were not preparatorystudies for the frescoes but parallel
graphic creations.

Scenesof ContemporaryLife
Peasantsand Gypsies,nobles andpetitsbourgeois,shop-
keepers, schoolmasters,and tradesmen;the entertain-
ments, diversions,occupations,and social posturingsof of the Republic.These providea revealingandinformative
the inhabitantsof the lagoon andthe mainland-these are backdropto Domenico's colorfulimages and attest to the
the subjectsof Domenico Tiepolo'svastlyappealingdraw- veracityof his pictorialchronicle.
ings of the contemporaryscene. Numerouswritten sources The genre of popularimageryin eighteenth-century
of the period-letters, poems, journalisticaccounts, Venicewas not one that Domenico invented. Pietro
diaries, memoirs-vividly describethe amusing,ribald, Longhi's careerwas devotedto the productionof small
andfrivolousinterludesof Venetianlife in the last decades cabinet paintings, or "conversationpieces," manyof

85 * A Flirtation, ca. 1795.

Pen and brown ink, brown
.L wash, over black chalk; II 1/4
x 83/4 in. (28.6x 22.2 cm).
Robert Lehman Collection,
: , I975 (i975-.i-53)

~-/o~ i
86 * The Leopards' Cage at
the Menagerie. Pen and
brown ink, brown wash,
over black chalk; II3 x
6%3/8in. (28.8 x 4I.5 cm).
Signed in brown ink, bottom
- - . 1w I
tt
left: Dom0 Tiepolof. Robert
Lehman Collection, 1975

.,vyl
M
) S
?tr
"""'
?fiJ^??-ib?.-'
.. ~
,-''^
-.-~_

''
'

tScctjyL
?
r.
.W

rc--
f:
H-
?
C1
(I975.I. 56)

%
-j' *-,
is
, I
ct
ZT ry ? .c _''^ 4
.I yc -wk

*55*
 II
87 * The School, I791. Pen
it 9-
and brown ink, graywash,
~~~~';U L
?; over black chalk; I4% x
9 3/4in. (37.I 50.3 cm).
Signed and dated faintly in
brown ink on a paper
attached to wall, upper
right: Tiepolo 1791.Signed
again in darkbrown ink,
above first signature: Dom?
Tiepolof. Robert Lehman
Collection, I975 (1975.1.512)

opposite
88 * "In Piazza," ca. 1791.
Pen and brown ink, brown
wash, over black chalk; 14%
x I93/4 in. (36.5 x 50. cm).
Signed in brown ink, top
center: Dom? Tiepolof.
Robert Lehman Collection,
1975 (I975-.5Io )

which show the intimate, rathermundane, and often schoolroom, where one hapless pupil wears the donkey
claustrophobicinterior world of the Venetianleisured ears of a dunce, is minutely described (fig. 87). The image
classes; Piazzetta'sdesigns forbook illustrations included known as "InPiazza" (fig. 88) capturesa chance encounter
smallvignettes of pastoralgenre scenes; Pietro Novelli's (witnessedby Domenico's ever-presentcanines) underthe
etchings accompanyingthe complete literaryworks of the arcadesof the ProcuratieNuove on the PiazzaSan
eighteenth-centuryplaywrightCarloGoldoni presented Marco-the "drawingroom for one and all," accordingto
lively glimpses of everydayVenetianlife that paralleledthe the nineteenth-centuryVenetianhistorian Pompeo
bourgeois realism of Goldoni'stheater and of Longhi's Molmenti.A pair of fashionablyattiredthreesomes, each
paintings; and the now-obscureGaetanoZompini, in his consisting of a gentleman accompanyingtwo elegantly
Arti che vannoper via nella Cittddi Venezia (Street Occu- accessorizedladies, meets outside a cafe. The drawing
pations in the City of Venice), first published in I753, recordsa fact of life in late-eighteenth-centuryVenice:
treatedwith an unwaveringdirectness and objectivitythe Ladiesdid not venture out alone into the Piazzabecause
trades and commercialactivities of the lower strataof it was deemed sociallyindecorous and also because of the
Venetian society. But the sparklingwit and gentle humor perils posed by swarmsof raucousmerrymakers,trans-
with which Domenico scrutinizedthe world aroundhim vestites, prostitutes, and other sordidtypes. The French
distinguishedhis contributionsfrom those of his contem- painter ElisabethVigee-Lebrunwas made awareof this
poraries, and his inventions rank at the forefrontof the realityin 1792 by her friend Mme Marini,who chastised
genre as it existed in Venice in his day. her for proposing to take coffee on the Piazzawithout a
A numberof the ContemporaryLife drawingsare male escort, devising as a solution the "loan of M. Denon
inscribedwith the date I79I (see fig. 87), and the group as [BaronDominiqueVivantDenon], who will give you his arm
a whole can be confidentlyassigned to the last decade of ... because one cannot go there without a companion."
the eighteenth century.Like the LargeBiblical series, The costumes of the figures assembledhere are rela-
these sheets arehighly worked-upcompositions executed tively restrainedand sober,but fashion excess was by no
in a rich range of limpidwashes and populatedby numer- means unknownin eighteenth-centuryVenice, where such
ous figures of ratherdiminutive scale, although the format absurdspectaclesas "patricianladies... in slippers,corset,
is horizontal ratherthan vertical. The scenes are all bor- andhigh-kiltedpetticoats"were routinelyobservedin pub-
deredby framinglines that serve to underscoretheir lic despite the prohibitionsof Venetian sumptuarylaws.
characteras autonomousworks. The comic aspects of Venetian couturewere gleefully
Five ContemporaryLife drawingsarein the Museum's recordedfor posterityby that seasoned people-watcher
collection. Fromthe lower ranks of the social ordercomes Domenico Tiepolo, who provideda glimpse of the toilette
the motley crowdgazing into the leopards'cage at a of one such lady (fig. 89). Hairstylesand headgearin par-
menagerie (fig. 86). In another sheet the interior of a ticular offered ampletargets for satiricalcomment:The

*56*
 '
I .
-'i^

*
\E *.

Ii,' ^^^fei1

r`A

89 * Lady Dressing, ca. 1780 or I79os. Pen and brown ink, 90 * The Presentation of the Fiance, ca. I791. Pen and gray
brown wash. Signed, lower right: Dom? Tiepolo. Museum of brown ink, graywash, over black chalk. Thaw Collection, The
Art, Rhode Island School of Design, Anonymous Gift (57.139) Pierpont Morgan Library

*57*
 shows, charlatansand quackdentists purveyingtheir
dubiouswares, flirtations,improvisedmusicalrecitalswit-
nessed by exotic foreigners-the "Turks,Greeks,Dalma-
tians, and Levantines,"describedby Charlesde Brosses,
.A ,
who throngedthe Piazza("the most beautifuland curious
place on earth,"in the estimationof that seasonedFrench
traveler)-the unique color of Venice in all its splendorand
decadencewas capturedby Domenico'sindefatigablepen.
There are throughoutthe ContemporaryLife series
figuresbasedon GiambattistaTiepolo'scaricatures(fig. 92).
Like the chalk drawingsreferredto above, these studies,
producedin great numbersand pasted into albums,were
retainedby Domenico afterhis father'sdeath, providinga
convenient and-given the humorousand gently satirical
vein of the series-relevant repertoireto drawupon.
.., ' ,, 7 +.
Domenico's own efforts in this genre are similarin spirit
L /
and remarkablyclose in style to Giambattista's(fig. 9I).
As caricaturists,the Tiepolos departedfromthe practiceof
* artistslike the Romanpainterand draftsmanPier Leone
,*,> Ghezzi (1674-1755)in depicting comicallyexaggeratedbut
generic types, ratherthan specific andrecognizableindi-
viduals, and in favoringlight humoroverbiting social com-
mentary.Both Giambattista'sand Domenico's caricatures
expresswhat Tiepolo scholarMichaelLeveyhas described
as an "uncomplicatedbelief that people, and the clothes
they wear, are funny."

91 * Caricature of a Gendeman and Other Studies. Pen and

brown ink, brown wash, over black chalk; 10 %x 7 V4in. (27.1 x
i8.5 cm). Signed in pen andbrown ink, lower right: Dom?
Tiepolof. Rogers Fund, 1937(37.165.68) I/

journalist GaspareGozzi ridiculed hats resemblingbaskets

of cabbages, an accessorythat frequentlymakes an appear- I
ance in Domenico's ContemporaryLife drawings(fig. 90) ( i
and in the frescoes in the villa at Zianigo. Even less fetch-
ing was the feminine fashion of the tupe-a tower of elabo-
rately dressedand pomadedhair constructed arounda
frame, shapedinto a fan or a pyramid,then ornamented
with flowers,baskets, hammers, portraits, and other
baubles, andwhich was frequentlyinsect-infested and foul-
smelling frommildew.Undeterredby such inconveniences,
Domenico's lady at her toilette (see fig. 89) preparesto
erect such a monument, the iron armatureof the tupe
alreadyperched on her head.
Among the most engaging of the Museum'sContem-
poraryLife drawingsis the scene of acrobatsperforming
(fig. 93). Their buffooneryand slapstickantics were highly
popularforms of entertainment in eighteenth-century 92 * GIAMBATTISTA TIEPOLO
Venice (especiallyduring Carnival),where saltimbanques Caricature of a Man Holding a Tricorne, Seen from Behind.
and zanni (clowns)were routinely encounteredin the Pen and black ink, graywash; 73/4 X 43/4 in. (19.7 x I2.2 cm).
PiazzaSan Marcoand on the Rivadegli Schiavoni.Puppet Robert Lehman Collection, 1975 (I975.1.456)

*58 *
Punchinello
Domenico Tiepolo is perhapsbest knowntodayfor his Y&il

celebratedsuite of I04 drawingsdevotedto the commedia

dell'arte characterPunchinello. Producedat the very end
of his life, this series is his crowningachievementas a
draftsman.Analogousin manyrespects to his other late
series drawings,particularlyin the repeatedbut endlessly
varied treatmentof a single subject, the Punchinello
drawingsare unique in Domenico's graphic oeuvre in hav-
ing been designatedby the artistwith a title, Divertimento
per li regazzi (Entertainmentfor Children),and provided
with a frontispiece (fig. 94), a practice otherwise reserved
for his etched Flight into EgyptandRaccolta di Teste.
Vexingquestions concerning the Divertimentoinclude
the possible literarysource or sources of Domenico's
93 * The Acrobats.Pen and brown ink, brownwash, over black
imagery;the original order of the sheets within the chalk; II% x i6Y4 in. (29 x 41.3 cm). Rogers Fund, 1968 (68.54.4)
series; and the intent of the series as a whole. Can the
94 * Frontispiece to the Punchinello Series, ca. 800o. Pen and
drawingsbe arrangedin a loose narrativesequence-as brown ink, brown wash, over black chalk. Signed, lower right:
JamesByamShawhas suggested and most subsequent Dom? Tiepolof. The Nelson-Atkins Museum of Art, Kansas
scholarshave concurred-beginning with Punchinello's
City, Missouri, Purchase: Nelson Trust, 32-193/9
ancestry and childhood and proceeding through his
Surroundedby props-cooking pots, basket, faggots, a plate of
trades and occupations, his adventuresin foreign lands,
gnocchi-seen throughout the series, Punchinello contem-
and his social and official life to conclude with his final
plates a slab that at once evokes an altar, a tomb, and a stage.
illness and death?And are the Punchinello drawings Deliberately ambiguous, this motif alludes to the malleability
satirical and ironic, or were they intended literally, as the that is the essence of the character.

*
*59
95 * Punchinello's Mother (?) Sick in Pregnancy, ca. I800. artist announces on the title page, as "entertainmentfor
Pen and brown ink, brown wash, over black chalk; i % x 6 1/4 children"?
in. (2.9.5x 41.4 cm). Signed in brown ink, bottom left: Dom? Punchinello (also Pulcinella or Policinelle) was one of
Tiepolof.Numberedin brownink, upperleft margin:15. the oldest stock charactersof the commediadell'arte. His
Robert Lehman Collection, i975 (I975.I.470)
origins, accordingto earlyhistories of the Italiantheater,
were purportedto extend back to ancient Romantimes.
Like the other masks of the commedia, he acquireda fixed
set of physicaland sartorialattributes:clownlike and thus
evoking comic associations, Punchinello alwayssported a
large hump, potbelly, tall conical hat, andbeaklike pro-
boscis, the last attribute thought to allude, like the
etymologyof his name and his chirpingvoice, to his mythi-
cal descent from a chicken (pollo). His costume was the
baggywhite tunic and breeches of a peasant laborerfrom
the Neapolitan countryside, the character'sregionalbirth-
place. Befittinghis lowly social status, Punchinellowas
coarse andvulgar-a rascal, lecher, glutton, and trickster,
who embodiedthe baser instincts of human nature and for
whom feasting, lounging, quarreling,and relieving him-
self were majorpreoccupations.
A characterof long standingin the Tiepolo artistic
* GIAMBATTISTA
96 TIEPOLO
repertoire, Punchinello appearsin Giambattista'sdraw-
A Group of Punchinellos Seated, 1750s. Pen and brown ink,
brown wash, over black chalk; 7% x Ix1/4in. (I9.5 x 28.5 cm).
ings of the I73os and I750s (fig. 96) and in two of the
Robert Lehman Collection, 1975 (I975.1.438)
Scherzi;as the subjectof a numberof canvasesvariously
ascribedto Giambattistaor Domenico; and in Domenico's

*60 *
8

paintings and drawingsof contemporarylife, including 97 * The Infant Punchinello in Bed with His Parents, ca. I800.
the Metropolitan'sA Dance in the Country(fig. 42). Pen andbrown ink, two shades of brownwash, overblack chalk;
X 6 1/8in. (29.3 x 41.1 cm). Numbered in brown ink, upper
I 1/2
Punchinellos also found a prominentplace in Domenico's
left margin: 8. Robert Lehman Collection, I975 (I975.I.465)
frescoes in the villa at Zianigo, the decorationsof which
almost alwaysreprise or anticipatethemes taken up in his
late series drawings.The characterthus exerciseda certain the nasty Punch of Punch and Judy fame); and a Carnival
fascinationfor both Tiepolos, but neverbefore, either in mask donned by licentious revelers. Punchinello's
their work or that of other eighteenth-centuryItalian omnipresence in Venice's urban landscape is attested by
artists, had he received such exhaustivecoverage. (And any number of eighteenth-century witnesses, among them
althoughother commediadell'artecharactershad occasion- the French encyclopedist Denis Diderot, who, in a letter
allybeen singled out for preferredtreatment-Harlequin, of 1762, relatedthat "in a single squareyou can see on one
for example, appearedin a varietyof guises in a series of side a stage with mountebanks performing merry, but
canvasesby the eighteenth-centuryFlorentine painter monstrously indecent farces, and on the other another
Domenico Ferettithat anticipatedthe Divertimento- stage with priests performing farces of a different com-
none had enjoyedthe sustained and affectionatefocus that plexion and shouting out: 'Take no notice of these
Domenico lavishedon Punchinello.) wretches, gentlemen, the Pulcinello you are flocking to is
In Domenico'sVenice Punchinello assumeda life a feeble fool; here (displaying the crucifix) is the genuine
independent of the theater. A fixturein the PiazzaSan Pulcinello, the great Pulcinello.'" So unwieldy did their
Marcoand on the Rivadegli Schiavoni,he was routinely numbers become that in I760 the procurator Marco
encountered as a hawkerfor charlatans;a buffoon street Foscarini contemplated prohibiting all Punchinellos in the
entertainerquickto amusewith a witty quip or song; a Piazza San Marco. Such a ban was never issued, however,
mean-spiritedpuppet (in this incarnation,the ancestorof perhaps because, as one anonymous satirist cynically

*61 *
 -
?t - r - I

98 * Punchinello as a Dressmaker, ca. 80oo. Pen and brown noted, were all the buffoonsto be banishedfromthe Piazza,
ink, brown wash, over black chalk; I37/ x 8 1/ in. (35.4 x its populationwould diminishby nearlyhalf.
47 cm). Numbered in brown ink, upper left margin: 12.
Robert Lehman Collection, 1975 (1975.1.466)
ThroughPunchinello'svery ubiquityin eighteenth-
centuryVenetianpopularculture-the theater of life that
providedDomenico with so much of his imagery-the
99 * The Marriage of Punchinello, ca. I80o. Pen and brown charactermust have insinuated himself indeliblyinto the
ink, gray brown and golden wash, over black chalk. Signed on artist'simagination. Moreover,the malleablenatureof
column: Dom? Tiepolof. Numbered in brown ink, upper left this mask made him the ideal protagonistfor the wide-
margin: 3. The Art Institute, Chicago (inv. no. 1968.312) ranging excursusof the Divertimento:Just as Punchinello
in the scenarios of the commedia assumed a chameleon-
like variety of guises (including the unsavoryincarnations
of the Venetian street-performingmountebanks), so in
the Divertimentois he cast in a whole gamut of roles-
tradesman,merchant, criminal, laborer,badminton
player,lover, bridegroom, adventurer,cook, artist, bar-
ber, entertainer, hunter, scoundrel, victim, executioner,
and corpse.
The Divertimentoincludes a number of original com-
positions. The scene of a flogging, for example (fig. I05),
is not based on anyimmediatelyrecognizableprototype, a
testimonial to the aging artist's still-fertileimagination.
But it should come as no surpriseto discoverthat, when
composing the Punchinello scenes, Domenico turned to
the Tiepolo encyclopediafor inspiration, once again liber-
ally quoting fromhis father'spaintings and drawings.

*62 *
No prototypewas too exalted to exempt it from appropria- action is the Venetianlagoon and mainlandof Domenico's
tion into the bawdy,low-life Punchinello universe.Accord- day-its civic buildings, quays,domestic interiors, shops
ingly, Giambattista'sfresco of the Marriageof Frederick and markets,villa gardens and countryside-already
Barbarossaand Beatrice of Burgundyfromthe Kaisersaal familiarfromhis ContemporaryLife and other late draw-
atWiirzburgis paraphrasedin the drawingof a Punchinello ings. The thematic overlapwith the scenes of Contempo-
marriage(fig. 99), and his various renditions of the Ban- raryLife is in fact considerable:Domenico's Punchinello
quet of Cleopatraco-opted as the models for a Punchinello occupies the same milieu and engages in the same activi-
nuptial feast of equal splendor (fig. IOI).Domenico also ties as the artist's peasants and dandies, industrious
reprised some favoritemotifs of his own devising. Thus, laborersand idle aristocrats.In an ironic inversion, many
dancingdogs, peasant revelers, grazing cows, rambunc- of these now-familiarcharactersreappearin the
tious centaurs, mythologicalgods and heroes on pedestals, Divertimentobut as supportingplayersto Punchinello's
and strolling figures sporting umbrellasand parasolscrop starringrole.
up throughoutthe series. The hero of the Divertimentois not a singlePunchinello
Punchinello occasionallyventures into exotic, vaguely but rathera whole society of punchinellos. Rendered
Easternlocales (as in the scene of a caravanreplete with indistinguishableby their identical masks and costumes,
camels and palm trees), but the backdropfor much of the they occur in multiples in every scene. Anonymousand

Ioo * Punchinello as a
Tailor's Assistant, ca. 80oo.
Pen and brown ink, light
brownwash,overblack
chalk; 137/8 XI8/2 in. (35.3 x
47 cm). Signed in brown ink,
bottom left: Dom? Tiepolof.
Numbered in brown ink,
!, i-/' upper left margin: 55.
... Robert Lehman Collection,
I ;i: .2
i?f h
, 1975 (I975.-I472)
ii
? \j
' ?t .1 The extensive black-chalk

[.?a ..:j (I-

underdrawing evident here
9??--;---irL.,L;C ?. v, I
occurs in a number of sheets
from the series. Frequently,
IL .
as in this example, the pen
and wash depart from the
preliminary indications in
E' } ,' chalk.
. I , > . . .
- ,.

;- ' i; > ''. .1.X --1

.,'. ..

,; */ < ,
t. . d?-. * , *-

1OI * The Wedding Banquet, ca. 800o. Pen and brown ink,
brown and ocher wash, over black chalk. Signed, lower right:
Dom? Tiepolof. Numbered in brown ink, upper left margin: 5.
Thaw Collection, The Pierpont Morgan Library, New York

*63
ubiquitous, Domenico's Punchinello is everymanand no Like Domenico himself, as the creatorof the drawings
man in particular.In a worldthat parallelsand parodies of the contemporaryscene, Punchinello in the commedia
that of the ContemporaryLife drawings,similarscenarios assumedthe role of highlighting life's farce and offering a
are reenacted. Now, however,the main actors are masks. mirrorthroughwhich his audiencecould see, and laugh at,
In the commedia dell'arte tradition, the maskwas the itself. "Yes,my children! Here I am! I, Punchinello,"he
theatricalconventionthroughwhich the humorand pathos announcesat the opening of a performancerecordedby the
of life were extractedfromreality,infusedwith elements nineteenth-centurytheater historian MauriceSand. "I
of the fantastic, and reflectedback to the audience in the come to amuseyou, as pleasantlyas I can, for certain some-
form of "fairystories"-as the commedia'sscenarioswere ones have told me that you are sad. Now,why shouldyou be
often called to indicate their essentially fanciful, imagi- sad?Is not life a pleasantthing, an idle jest, a veritable
nary content. This term aptlydescribes Domenico's farce, in which all the worldis the theater andwhere there
Punchinello universe. Goethe astutelyobservedthat the is plenty to excite your laughterif you will but take the
audience of Venetian comic theater enjoyednothing more trouble to look?" Throughthe speech of this Punchinello
than to watch itself, but as presented through the masks of of the theater the mission of Domenico's Divertimento-
the commedia-an entertainmentin which they "delighted, the amusementof "children"ofall ages-is revealed.
like children."Thus it is that Domenico, in the frontispiece Attemptsto unearth a textual source for Domenico's
of the Divertimento,summonsragazzi, children,those Punchinello imageryin the work of CarloGozzi or other
lovers of the commedia's"fairystories," as his audience. contemporaryplaywrightshaveyielded no discoveries.

opposite, top
103 * Punchinellos Outside a
Circus, ca. I800. Pen and
brown ink, brown wash, over
black chalk; 13 3/4x8 1/4in.
(34.9 x 46.4 cm). Signed in
brown ink on a paper attached
to fence, center right: Dom?
Tiepolof. Numbered in brown
ink, upper left margin: 50.
Robert Lehman Collection,
I975 (I975..I469)
The elephant on the poster
indicates the attraction inside.
Collapsed in a heap on a
hillock in the foreground, the
Punchinellos, one ofwhom
relieves himself at right, are
isolated from the other circus-
goers. Domenico here exposes
their idle and vulgar nature.

opposite, bottom
104 * Punchinello Retrieving
Dead Fowls from a Well,
ca. 800o. Pen and brown ink,
xoa * Punchinellos Felling tion that this superb drawing brown wash, over black chalk;
aTree, ca. 800o. Pen and alludes to the "Tree of ii3/8 x 61/4 in. (29 x 41.3 cm).
brown ink, brown wash, Liberty" erected by Napo- Signed in brown ink, bottom
over black chalk; I37/8 x leonic troops throughout the
right: Dom? Tiepolof.
85/ in. (35.3 x47.3cm). Veneto in 1797 as a symbol Numbered in brown ink,
Signed in brown ink, lower of French "liberation."
upper left margin: 83. Robert
left: Dom? Tiepolof. However, a similar drum Lehman Collection, I975
Numbered in brown ink, occurs in Christ Crowned
(1975.1.469)
upper left margin: 40. with Thorns (fig. 22), a fact
Robert Lehman Collection, that cautions against an over- This enigmatic scene may
I975 (I975.1I468) ly symbolic interpretation depict a childish prank, as is
of this prop. indicated by the squirming
The drum at right, which
young Punchinello being
may connote a ceremony, unceremoniously carried off
has prompted the sugges-
by one of his elders.

*64 *
 I I
i
Ia

65 *
 ?*

Thus, it has been reasonablyconcludedthat the Diverti- allusion to the childlike innocence requiredto appreciate
mentois a creation of the artist'simaginationratherthan the fabulousand fantastic elements of the tales he tells.
the illustratedcompanionto a literaryor theatrical Although the Punchinello drawingswere numbered,
Punchinello biography.Nonetheless, some of the episodes it is unlikelythat this fixed orderwas envisioned fromthe
undoubtedlyreflect Domenico's deep familiaritywith both outset, particularlysince the numerationis probably
the Punchinello characterandwith the scenarios of the posthumous. Additionally,some of the numericallycon-
commedia dell'arte. tiguous drawingsdepartfrom a coherent or unified story
Moreover,that a kinship exists with the commedia line, and certain subjectsare repeatedfor no logical rea-
traditionis true not only of the subjectmatterbut also of son. Farmore plausible is that the dozens of sheets of the
the fundamentalrole that improvisationand the closely Divertimentooriginallyconformedto no fixed sequence,
allied facultyof artistic invention playin the series as a therebylending themselves to a reinventednarrativeeach
whole. Domenico's Punchinello drawingsare the pictorial time theywere viewed. Basic plot lines-Punchinello as a
and spiritualcounterpartsof CarloGozzi'sfiabe:impro- tailor (fig. ioo), Punchinello at the circus (fig. I03),
vised scenarios enacted by the masks of the commediathat Punchinellobeing flogged (fig. I05)-were reprised;but,
venture from the burlesqueand comic (see fig. I03) to the as in the improvisedperformancesof the commedia,
dramaticand poignant (see fig. io6). Both the Punchinello an element of novelty and spontaneityaccompaniedeach
drawingsand thefiabe give voice to the author'sfanciful retelling of Punchinello'sadventures,depending on the
imagination. Gozzi describedhisfiabe as "teatralediverti- orderingof the images. At the heart of the infinitelyvar-
mento"; Domenico entitled his Punchinello series Diverti- ied, extemporizedversions of the narrativelies the artistic
mento. And, in referringironicallyto hisfiabe as "nursery imagination of Domenico Tiepolo, the consummate story-
tales," Gozzi, like Domenico on the title page of the teller. His last work, the Divertimentois the ultimate
Divertimento,Goethe in his account of a commediaper- vindication of Domenico's abundantpowersof invention.
formance, and Punchinello in the scenario quoted above, Attemptshave been made to impute to the Diverti-
invoked an audience of children, not in a literal sense, as mento a satiricalpurpose or an autobiographicalsubtext-
has been generallymaintainedof these drawings,but as an a criticism of Venetian society or a veiled expression of the

*66
aging artist'sisolation and disaffectionin the wake of the opposite
Republic'sdemise. Domenico Tiepolo was not given to io5 * The Flogging of Punchinello, ca. i800. Pen and brown
bouts of artisticintrospection, however,nor was he Goya ink, brown wash, over black chalk; Ii5/8 x 17/ in. (29.5 x
41.2 cm). Signed in brown ink, bottom right: Dom? Tiepolof.
or Daumier,and it is improbablethat this fundamentally Numbered in brown ink, upper left margin: 85. Robert
apolitical artist, having reached old age, would suddenly Lehman Collection, 1975 (I975.1.467)
become a partisancommentatoror an outspoken critic of
The crime committed by Punchinello is a mystery, but his
the city and culture that had for so long affordedhim fame
punishment has attracted the scrutiny of a bespectacled
and success. To the contrary,the drawings-with the
bystander (based on a caricature by Giambattista). The head
quintessentiallyeighteenth-centuryVenetiancharacter of the standing Turk recalls a plate in volume 2 of the Raccolta
Punchinello as their protagonist-stand as his final tribute di Teste (see fig. 50), and the Punchinello at right is nearly
to that society andway of life in all its splendorand folly. identical to the corresponding figure in Punchinellos Outside
a Circus (fig. I03).
DomenicoTiepolodiedof feverat seventy-sevenyearsof
age on March4, I804, andwasburiedin his parishchurch
of SaintsArmagoraandFortunato.He survivedthe Vene- io6 * The Burial of Punchinello. Pen and brown ink, brown
tian Republicby sevenyearsand outlivedthe era of history and yellow wash, over black chalk; 11 % x 16 Y4in. (29.5 x

into which he was born, witnessingthe end of the old order 41.3 cm). Signed in brown ink, bottom left: Dom? Tiepolof.
Numbered in brown ink, upper left margin: 103. Robert
thathis art servedbut partakingof none of the Revolution- Lehman Collection, x975 (I975.I.473)
aryfervorthat sweptEuropeandinflamedthe creative
The crowd of onlookers witnessing the burial and the woman
spiritof Canovaor David.It is the cultureof thatvanished
holding her cloak to her nose recall the conventional iconogra-
worldthat Domenico,with nostalgiaandgentle humor,
phy of the Raising of Lazarus. Appropriated from Crucifixion
mythologized and immortalized in the Divertimento. imagery is the ladder rising behind the figures, a prop seen in
the series frontispiece (see fig. 94). Through these allusions
Domenico imparts sacred overtones to the scene, thereby
highlighting Punchinello's universal humanity rather than
his coarse, comedic nature.

*67*
NOTES Io7 * The Spring
Shower,ca. i8oo.
. ..; ?:
Pen and brownink,
Introduction ?.4?'t*
brownwash, over
-P :i' ,wrr ?--.:. ?? ?
p. 4, "in the footsteps of his father": ?
black chalk. Signed,
rc
Algarotti's letter to Count Bruhl, quoted in :t - lowerright:Dom?
-*,'
Levey, Tiepolo, p. I34. "son of the cele- i
Tiepolof. The
brated professor": Contract quoted in 'C, Cleveland Museum
Levey, Tiepolo, p. 221. "What is painted by
the father" is inscribed on Domenico's
;- l. i ?? ? it'?
i'''
' of Art, Purchase
from the J. H. Wade
etching of Giambattista's The Patron Fund, 1937.573.
Saints of the Crotta Family (Stadelsches
Kunstinstitut, Frankfurt). Is

The Early Years

p. 9, "only out of personal whim": Pietro " 'i ?I' 'Q
Visconti's letter to Gian Pietro Ligari,
;- i ba-"~? ?LI?ICi_li
December I9, I749; quoted in Haskell, ..? L?` ' r 1
Patrons and Painters, p. 323.

The WiirzburgPeriod
p. ii, "stupefying mimetic capacity": age": Gaspare Gozzi in Gazzetta Veneta; Byam Shaw, James. The Drawings of
Mariuz, Giandomenico Tiepolo, p. 31. transcribed in Adriano Mariuz, "Gian- Domenico Tiepolo. London, I962.
p. I8, "abundantly rich in ideas": domenico Tiepolo e la civilta veneta di . and George Knox. The Robert
Moschini's account related in Dell 'Inci- villa," in Atti del Congresso internazionale Lehman Collection, VI:Italian Eigh-
sione in Venezia (Venice, 1924), p. 162. di studi sul Tiepolo (Milan, n.d. [ca. I97I] ), teenth-CenturyDrawings. NewYork and
p. 17. p. 53, "absurdlylong, stiff forelegs": Princeton, I987.
Artistic Maturity Byam Shaw, in Lehman Collection, p. I74. Gealt, Adelheid M, and Marcia E. Vetrocq.
" p. 56, "drawing room for one and all": Domenico Tiepolo 's Punchinello Draw-
p. 22, caricature of his father's style":
Critical response of Johann Georg Meusel, Molmenti, Venice, pt. 3, p. I39. "one cannot ings. Exh. cat. Indiana UniversityArt
a follower of Mengs, quoted in Adriano go there without a companion": Elisabeth Museum. Bloomington, 1979.
Mariuz, "La 'Lapidazione di Santo Stefano' Vig6e-Lebrun, Memoires d'unportraitiste, Haskell, Francis. Patrons and Painters: Art
di Giandomenico Tiepolo ritrovata," Arte 1755-1842,ed. Jean Chalon (Paris, I989), and Society in Baroque Italy. 2d ed.
veneta 32, pp. 4I4-I6. p. 27, "from mid- p. II5. "patrician ladies in ... petticoats": revised. New Haven and London, I980.
night to midnight, they are just the same": Report of Ambassador Andrea Dolfin's Levey, Michael. Giambattista Tiepolo: His
Journal entry for October 4, 1786, in J. W. agent in Venice, May 1771; quoted in Life and Art. New Haven, I986; 2d print-
von Goethe, Italian Journey (1786-1788), Molmenti, Venice, pt. 3, vol. I, p. 140. ingwith corrections, I994.
trans. W. H. Auden and Elizabeth Mayer p. 58, "baskets of cabbages": Gozzi quoted - . Painting in Eighteenth-Century
(Harmondsworth, Middlesex, England, in Molmenti, Venice, pt. 3, vol. I, p. 220. Venice. 2d ed. Ithaca, I980.
1962; repr. 1982), p. 86. p. 30, "more natural "Turks, Greeks, Dalmatians, and Mariuz, Adriano. Giandomenico Tiepolo.
acting than that of these masked players": Levantines": Charles de Brosses, letter to Venice, I97I.
Goethe, Italian Journey, p. 86. "the actor A. M. de Blancey, August 13, I739; in Lettres Molmenti, Pompeo. Venice:Its Individual
who performs impromptu": Riccoboni, d'Italie du President de Brosses, ed. Growthfrom the Earliest Beginnings to
Theatre Italien, p. 6i. "each speaking in his Frederic d'Agay (Paris, 1986), vol. I, p. I90. the Fall of the Republic. Part III, The
turn": Charles de Brosses, quoted in Sand, "the most beautiful and curious place on Decadence. Trans. Horatio F. Brown. 2
Harlequinade, vol. I, p. 32. earth": Lettres d'Italie du President de vols. Chicago, London, and Bergamo,
Brosses, p. 190. "people, and the clothes I908.
Spain and the Later Career theywear, are funny": Levey, Venice, p. 162. Riccoboni, Louis. Histoire du Theatre
p. 6I,"in a single square you can see... Italien. Paris, I728.
p. 34, "for the sublime, for the heroic, for
'the great Pulcinello.' ": Diderot's letter Rizzi, Aldo. The Etchings of the Tiepolos.
perfection": Giambattista Tiepolo, before
his departure for Spain, quoted in Nuova and Foscarini's contemplated ban cited by Trans. L. Wildt. London, I971.
Veneta Gazzetta, March 1762; cited in Vetrocq, in Punchinello Drawings, p. 24. Russell, H. Diane. Rare Etchings by
p. 64, "Here I am! I, Punchinello": Quoted Giovanni Battista and Giovanni
Haskell, Patrons and Painters, p. 253.
in Sand, Harlequinade, vol. i, p. Io3. p. 66, Domenico Tiepolo. Washington, 1972.
p. 36, Zanetti's letter to Mariette, tran-
scribed in Russell, Rare Etchings, p. 33. Gozzi's description ofhisfiabe as "nursery Sand, Maurice. The History of the
p. 41, "rich in ideas, of daring foreshorten-
tales": Sand, Harlequinade, vol. 2, p. 283. Harlequinade. 2 vols. Philadelphia and
London, 1915.
ing, full of contrasts"; "the glorious pictor-
ial heritage of his father": Federigo Alizeri, Succi, Dario. "Giandomenico Tiepolo.
Notizie dei Professori del disegno in Liguria L'Opera incisa," in I Tiepolo, Virtuo-
sismo e ironia. Exh. cat. by Dario Succi et.
dellafondazione dell 'accademia (Genoa,
me with a
al. Mirano, I988, pp. 95-263.
1864), vol. I, p. 380. "honored
coffee": Domenico's letter of March 13, SELECTED Whistler, Catherine. "Aspects of Domenico
1785, transcribed in G. M. Urbani de Tiepolo's Early Career," Kunstchronik 46,
BIBLIOGRAPHY no. 8 (August 1993), pp. 385-97.
Gheltof, Tiepolo e la suafamiglia (Venice,
1879), p. 33 (erroneously dated 1783). Bean, Jacob, and William Griswold. 18th
Century Italian Drawings in The Metro-
Domenico Tiepolo'sLate Drawings politan Museum ofArt. NewYork, I990.
p. 45, "inexhaustible of chatterboxes": Catalogue d 'une collection d 'estampes an-
Henri de Chenevieres, Les Tiepolo, Paris, ciennes, et livres sur les sciences et les arts,
1898, p. I49. p. 46, "essentially 'album dessins anciens, provenant de la succes-
drawings' ": Byam Shaw, Domenico sion de Dominique Tiepolo, Peintre Veni-
Tiepolo, p. 37. p. 52, "there is the golden tien. Paris, 1845.

* 68*
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