Le Galleries of Italy – Piazza Scala, museum headquarters of Intesa Sanpaolo in Milan, present dal 30 October 2020 to 21 March 2021 the exhibition Tiepolo. Venice, Milan, Europeby Fernando Mazzocca and Alessandro Morandotti, with the general coordination of Gianfranco Brunelli.
On the occasion of the two hundred and fifty years since the death of Giambattista Tiepolo (Venice 1696 - Madrid 1770), the first exhibition in Milan dedicated to him is held.
Under the High Patronage of the President of the Republic and in partnership with the Gallerie dell'Accademia in Venice, the exhibition presents around seventy works including those by Tiepolo and by important contemporary artists (including the Venetians Antonio Pellegrini, Giovanni Battista Piazzetta, Sebastiano Ricci and the Lombard Paolo Pagani), retraces the artistic life of the Venetian master, his main commissions in the cities that saw him as protagonist: Venice, Milan, Dresden and Madrid.
THE EXHIBITION:
In the tight itinerary conceived by the curators, useful for following Tiepolo's international affirmation, from the years of his training in Venice to his consecration at the great European courts, one encounters extraordinary masterpieces, from youthful mythologies of the Gallerie dell'Accademia in Venice, al Martyrdom of St. Bartholomew created in 1722 for the church of San Stae in Venice – a veritable museum of early eighteenth-century Venetian painting – exhibited next to the contemporary St. Jacopo led to martyrdom of the Piazzetta, built for the same shipyard.
I large cycles of canvases for the Venetian palaces made to decorate by the ambitious families of new ennoblement, iPassword, Zenobius, seal the years of Tiepolo's early maturity, capable of orchestrating compositions with many figures and of reworking ancient stories with whim and imagination.
Milan, on separate occasions (1730-1731, 1737 and 1740) it is the first stage of its international affirmation: the exhibition allows you to admire a series of works restored for the occasion, normally little or not at all accessible to the public, such as the frescoes in the basilica of Sant'Ambrogio and the one executed for Palazzo Gallarati Scotti. The two detached frescoes executed for Sant'Ambrogio recount sacred events with the epic tones of the great history painter, while the allegory of Palazzo Gallarati Scotti exhibits an aerial invention that Tiepolo would re-propose with variations in many subsequent works.
It will be possible to follow the preparatory phases of the fresco for the Gallery on the noble floor of Palazzo Clericithrough some drawings and a wonderful sketch from the Kimbell Art Museum in Fort Worth (United States).
German productions are exemplified by the sketch for a room in the Würzburg Residencefrom Stuttgart, and from the free reinvention of a subject conceived, in agreement with his friend Francesco Algarotti, for the elector of Saxony and king of Poland Augustus III: the Banquet of Antony and Cleopatra, documented here in the variant from the National Gallery in London.
The years in Germany and Spain are the years of close collaboration between Tiepolo and his sons, particularly with Giandomenico: the exhibition emblematically closes on a confrontation between father and son, with the St. Francis of Assisi receives the stigmata by Tiepolo senior of the Prado Museum on one side and Abraham and the three angels of the Gallerie dell'Accademia in Venice, by Giandomenico on the other.
On display it will be possible to admire a nucleus of works restored for the occasion: Apollo flays Marsyas, Hercules smothers Antaeus, Ulysses discovers Achilles among the daughters of Lycomedes, The triumph of nobility and virtue, The martyrdom of Saint Victor, The shipwreck of San Satiro by Giambattista Tiepolo; Spartacus leads the slaves to revolt by Antonio Pellegrini; Bacchus and Ariadne e Apollo and Pan in the presence of King Midas by Sebastian Ricci.
THE SECTIONS:
1. The first section, Tiepolo's cities: Venice, Milan and Madrid, emblematically summarizes the places of Tiepolo's life and fortune, giving a bird's eye view of the eighteenth century, the era of the international fortune of Italian artists. Venice, in the first half of the eighteenth century, was perhaps the most courted city in Europe for its artists, starting with the landscape painters: and here we see Canaletto and Bellotto in dialogue with Antonio Joli, an artist of Roman culture linked to the tradition of Gaspar van Wittel.
2. It then continues through Nude academies in Venice. The exercise on the nude is a fundamental element in the training of artists throughout Europe, especially starting from the formalization of this drawing practice in the Academy during the seventeenth century. Venice becomes a special processing center for this exercise, enlivened by the presence of many foreign artists with whom Tiepolo interacted, drawing and painting his first independent works.
3. The third section, closely linked to the previous one, The beginnings of Tiepolo between Pagani, Pellegrini and Piazzetta follows the gazes of the young Tiepolo on his contemporaries on different levels of reading.
4. The path then reaches a The first affirmation in Venice. History and mythology on the wings of fantasy.Here the main elements of two cycles executed in Venice for the Sandi and Zenobio families are emblematically received. Tiepolo begins to elaborate, with his imagination, mythological and historical themes with an extraordinary capacity for orchestration and free interpretation which will be the reason for his success in Europe, as a great narrator at the service of the celebration of clients.
5. The exhibition continues in the fifth section Venice and Milan, a background: Sebastiano Ricci. Milan has a special relationship with Venice and constitutes the first stage for the international affirmation of many Venetian artists: it will be so for Tiepolo and Bellotto, it was some time before for Sebastiano Ricci.
6. The central theme of the sixth section, Tiepolo in Milan: the first stage of international affirmation, revolves around the complex network of relationships that allow Tiepolo to find fortune in Milan in two important moments of his career. The choices made by the artist in many of the frescoed building sites in the city make it possible to trace, in the succession of drawings and sketches, his modus operandi and his ability to implement ever more airy and spectacular solutions. Among these what stands out is what he does in Palazzo Clerici, almost a prelude to what the painter will do a few years later in Würzburg and Madrid.
7. Between 1751 and 1753 Tiepolo moved to Germany, to Würzburg, together with his children. The section Tiepolo and Germany focuses on how Giandomenico, by now a traveling companion of the established master, began to work alongside his father. In this context we follow, among other things, through a preparatory sketch for the fresco, Tiepolo's fortune in Wurzburg, and thanks to a variant on the theme of Banquet of Antony and Cleopatra dear to the court of Dresden, the triumphal reception of Tiepolo in that city, then one of the most up-to-date artistic centers in Europe, orchestrated by Francesco Algarotti.
8. The last stage of Giambattista's life, told in Tiepolo and his children in Spain, it is marked by the increasingly close collaboration with his children, who will follow him to Madrid, to remain there after his death. The comparison with Giandomenico's talent determines new stylistic choices, marked by an unusual expressive tenderness, a hint of melancholy introspection, which is reflected in the softer drafts, in the more diligent and less resentful drawing. This final moment in Tiepolo's story is particularly evocative and is outlined in a few works, where father and sons are emblematically confronted on the theme of Character heads, a genre much appreciated by the international public.
A sophisticated projection system has transformed the large vault of the Salone at the beginning of the exhibition itinerary into a amazing immersive experience which will allow the public a visual journey through the vaults of the Wurzburg Palace and the Royal Palace of Madrid, the largest in Europe, where Tiepolo reached – on the wings of fantasy and with an astonishing ability to confront reality – the top of his art.
While at the end of the itinerary, to invite the public to discover Tiepolo outside the exhibition, the works he created in the rest of Lombardy are projected, among which the magnificent decorative cycle of the Colleoni Chapel in Bergamo shines.
Il exhibition catalogue is published by Edizioni Gallerie d'Italia | Skira and contains essays by the curators Fernando Mazzocca and Alessandro Morandotti and texts by Elena Lissoni, Fabrizio Magani, Andrés Ubeda.
BIOGRAPHICAL NOTES:
Giambattista Tiepolo he took his first steps in the Republic of the Serenissima starting from 1715, benefiting from a particular historical-political climate that put Venice safe for almost a century from the European turbulence of those years, while guaranteeing the proliferation of the arts and literature at the same time.
A contemporary of Canaletto, Tiepolo was able to win the favor of the Venetian clergy and aristocracy by decorating churches and palaces with his painting, on canvas and in fresco, allegorical, mythological and sacred, rich in theatricality and magnificence.
The greatness of Tiepolo, which will make him one of the most acclaimed and sought-after artists of his time, in a certain sense a forerunner of the Enlightenment, is primarily due to his ability to observe nature, which became his main source of inspiration, to the his inexhaustible narrative vein and technical mastery in the use of colors, lights and perspective.
His success led him to Milan, under Habsburg rule, where he revitalized the art scene together with Sebastiano Ricci. Tiepolo develops an expressive freedom and an extraordinary ability to direct magniloquent compositions, animated by hundreds of figures in cycles of frescoes in the Archinto, Casati, Clerici and Gallarati Scotti palaces and in Sant'Ambrogio. Projected to the top of the international artistic scene, he will become a sought-after artist in all the courts of Europe.
The intense relations with Germany, since the XNUMXs, and in particular with the court ofDresden, where the friend philosopher, man of letters and connoisseur Francesco Algarotti, his staunch supporter and admirer, he played the role of adviser to the prince, the elector of Saxony and king of Poland Augustus III.
This fortune of the painter in Germany will lead him to settle between 1751 and 1753 in Würzburg, capital of Franconia, where he created the decoration of the residence of the prince-bishop Carl Philipp von Greiffenclau.
From the 1770s and until his death in XNUMX he will move into Spain, under the wing of the sovereign Charles III Bourbon. TO Madrid he decorates the enormous spaces of Palazzo Reale and, subsequently, will remain at the Bourbon court as painter of altarpieces.
His posthumous fortune followed a slow decline until it was re-evaluated again by Francesco Hayez, almost a century later: in fact, the merit of the rediscovery of Tiepolo belongs to him, slightly ahead of the collector Edward Cheney who in the XNUMXs In the XNUMXth century he stayed in Venice managing to purchase a large number of magnificent oil sketches and several books of drawings.
Tiepolo. Venice, Milan, Europe
Milan, Galleries of Italy - Piazza Scala
October 30, 2020 - March 21, 2021
Works list
Antonio Canal, known as Canaletto
(Venice, 1697-1768)
The entrance to the Grand Canal with the Basilica della Salute, c.1731-1732
Oil on canvas, 53 × 70,5 cm
FAI – Fondo Ambiente Italiano, Alighiero De Micheli collection
Bernard Bellotto
(Venice, 1722 – Warsaw, 1780)
The Palazzo dei Giureconsulti and the Broletto in Milan, c.1744
Oil on canvas, 71 × 56 cm
Milan, Collections of Ancient Art, Pinacoteca of Castello Sforzesco
Antonio Joli
(Modena, 1700 - Naples, 1777)
View of the Royal Palace of Madrid from the bank of the Manzanares, c.1752-1754
Oil on canvas, 82 × 170 cm
Naples, Royal Palace
Paolo Pagani
(Valsolda Castle, Como 1655 – Milan, 1716)
Seated Male Nude, before 1690
Red pencil on white paper, 550 × 390 mm
Olomouc, Vědecká knihovna v Olomouci / Olomouc Research Library
Paolo Pagani
(Valsolda Castle, Como 1655 – Milan, 1716)
Reclining Male Nude (front), before 1690
Red pencil on white paper, 295 × 440 mm
Olomouc, Vědecká knihovna v Olomouci / Olomouc Research Library
Paolo Pagani
(Valsolda Castle, Como 1655 – Milan, 1716)
Female Nude Seated on a Rock, before 1690
Red pencil on white paper, 541 × 398 mm
Olomouc, Vědecká knihovna v Olomouci / Olomouc Research Library
Antonio Bonacina
(Venice, c. 1658 – 1709)
Male nude academy, about the ninth decade of the seventeenth century
Red pencil on beige paper; framed in blue tempera and black chalk, 571 × 430 mm
Verona, Cabinet of Drawings and Prints of the Civic Museums
Louis Dorigny
(Paris, 1654 – Verona, 1742)
Male nude academy, about the ninth-tenth decade of the seventeenth century
Red pencil on beige paper; framed in blue tempera and black chalk, 571 × 433 mm
Verona, Cabinet of Drawings and Prints of the Civic Museums
Anthony Balestra
(Verona, 1666-1740)
Male nude academy, second-third decade of the eighteenth century (?)
Charcoal on white paper, 430 × 286 mm
Verona, Cabinet of Drawings and Prints of the Civic Museums
Giambattista Pittoni
(Venice, 1687-1767)
Seated Male Nude in Profile, c.1720
Red pencil and white chalk on browned paper, 572 × 422 mm
Venice, Giorgio Cini Foundation, Cabinet of Drawings and Prints
Federico Bencovich
(Almissa, Dalmatia, 1667 – Gorizia, 1753)
Semi-reclining nude youth, c.1710-1715
Charcoal, black pencil and white chalk on watermarked paper, 278 × 410 mm
Florence, Marucelliana Library
Giambattista Piazzetta
(Venice, 1682-1754)
Seated Male Nude, c.1715-1720
Charcoal and white chalk on browned white paper, 557 × 420 mm
Venice, Cabinet of Drawings and Prints of the Gallerie dell'Accademia
Giambattista Piazzetta
(Venice, 1682-1754)
Male Nude Standing with Flag, c.1720-1735
Black pencil, charcoal and traces of white chalk on browned white paper, 536 × 400 mm
Venice, Cabinet of Drawings and Prints of the Gallerie dell'Accademia
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Standing Male Nude, c.1722
Charcoal, black pencil and white chalk on faded cerulean paper, 565 × 425 mm
Milan, Veneranda Biblioteca Ambrosiana, Pinacoteca
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Male nude academy, c.1724
Charcoal, partly shaded, and white chalk on darkened and watermarked cerulean paper, 458 × 325 mm
Verona, Cabinet of Drawings and Prints of the Civic Museums
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Rape of Europa, c.1720-1722
Oil on canvas, 100 × 135 cm
Venice, Gallerie dell'Accademia
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Contest between Apollo and Marsyas, c.1720-1722
Oil on canvas, 100 × 135 cm
Venice, Gallerie dell'Accademia
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
St. Dominic in GloryLa Javie, 1723
Oil on canvas, 78 × 77 cm
Venice, Gallerie dell'Accademia
Paolo Pagani
(Valsolda Castle, Como 1655 – Milan, 1716)
Kidnapping of Elena, 1695-1696
Oil on canvas, 225 × 135 cm
Etro collection
Paolo Pagani
(Valsolda Castle, Como 1655 – Milan, 1716)
Aeneas and Anchises flee from burning Troy, 1695-1696
Oil on canvas, 225 × 135 cm
Etro collection
Antonio Pellegrini
(Venice, 1675-1741)
Spartacus leads the slaves to revolt (?), 1701-1702
Oil on canvas, 139 × 98 cm
Padua, Museum of Medieval and Modern Art
Giambattista Piazzetta
(Venice, 1682-1754)
St. Jacopo led to martyrdomLa Javie, 1722
Oil on canvas, 167 × 139 cm
Venice, church of San Stae
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Martyrdom of St BartholomewLa Javie, 1722
Oil on canvas, 167 × 139 cm
Venice, church of San Stae
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Rhea Silvia warned by Amulius in front at the temple of Vesta (?), c.1722-1725
Oil on canvas, 96 × 136 cm
Milan, Brunelli Foundation
Giambattista Tiepolo (?)
(Venice, 1696 – Madrid, 1770)
Rhea Silvia warned by Amulius in front at the temple of Vesta (?), c.1722-1725
Black pencil and heightened white chalk on browned white paper, 382 × 584 mm
Milan, Brunelli Foundation
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Heliodorus and the priest Onias, c.1726-1728
Oil on canvas, 195 × 231 cm
Verona, Castelvecchio Museum
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Triumph of Aurelian, c.1720
Oil on canvas, 260 × 402 cm
Turin, Royal Museums, Galleria Sabauda
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Hunter with deer, 1733-1735
Oil on canvas, 262 × 146 cm
Milan, Cariplo Foundation collection
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Horse hunter, 1733-1735
Oil on canvas, 262 × 148 cm
Milan, Cariplo Foundation collection
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Ulysses discovers Achilles among the daughters of Lycomedes, 1724-1725
Oil on canvas, 245 × 520 cm
Rome, Rome Cavalieri, Waldorf Astoria Hotel
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Apollo flays Marsyas, 1724-1725
Oil on canvas, 250 × 98 cm
Rome, Rome Cavalieri, Waldorf Astoria Hotel
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Hercules smothers Antaeus, 1724-1725
Oil on canvas, 252 × 108 cm
Rome, Rome Cavalieri, Waldorf Astoria Hotel
Sebastian Ricci
(Belluno, 1659 – Venice, 1734)
Glory of Saint Sebastian, 1694-1695
Oil on canvas, 78,5 × 63,5 cm
Milan, Collections of Ancient Art, Pinacoteca of Castello Sforzesco
Sebastian Ricci
(Belluno, 1659 – Venice, 1734)
Holy in glory, 1694-1695
Oil on canvas, 78,8 × 63,5 cm
Castenaso (Bologna), Molinari Pradelli collection
Sebastian Ricci
(Belluno, 1659 – Venice, 1734)
Bacchus and Ariadne, 1724-1726
Oil on canvas, 112 × 86 cm
Milan, Superintendency of Archaeology, Fine Arts and Landscape for the City of Milan, on deposit at Palazzo Cusani
Sebastian Ricci
(Belluno, 1659 – Venice, 1734)
Apollo and Pan in the presence of King Midas, 1724-1726
Oil on canvas, 112 × 87 cm
Milan, Superintendency of Archaeology, Fine Arts and Landscape for the City of Milan, on deposit at Palazzo Cusani
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Study for four female figures, 1730-1731
Pen, partially diluted brown ink and traces of pencil and black chalk on white paper, 288 × 340 mm
Trieste, Sartorio Civic Museum
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Triumph of the Arts and Sciences, 1730-1731
Oil on canvas, 55,5 × 72 cm
Lisbon, Museu Nacional de Arte Antiga
Attilio Centelli, Gerardo Molfese
Tiepolo's ceilings formerly in Palazzo Archinto
da GB Tiepolo's frescoes collected by Gerardo Molfese with a study by Atilius Centelli, Turin 1897
Album of phototype plates on paper, 600 × 450 mm (single plate size)
Milan, Golgi-Redaelli Personal Services Company
Anonymous photographer
Triumph of the Arts and Sciences
(details of one of the ceilings formerly in Palazzo Archinto), 1940
Gelatin-silver prints on paper, 112 × 172 mm each
Milan, Golgi-Redaelli Personal Services Company
Anonymous photographer
Perseus and Andromeda
(details of one of the ceilings formerly in Palazzo Archinto), 1940
Gelatin-silver print on paper, 112 × 172 mm
Milan, Golgi-Redaelli Personal Services Company
John Mari
(active in Milan between 1926 and 1971)
Juno, Venus and Fortune
(detail of one of the ceilings formerly in Palazzo Archinto), 1940 ca
Gelatin-silver print on paper, 234 × 280 mm
Milan, Golgi-Redaelli Personal Services Company
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
The martyrdom of Saint VictorLa Javie, 1737
Fresco ripped and transferred to canvas, 360 × 290 cm
Milan, Basilica of Sant'Ambrogio, second chapel on the right
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
The shipwreck of San SatiroLa Javie, 1737
Fresco ripped and transferred to canvas, 360 × 290 cm
Milan, Basilica of Sant'Ambrogio, second chapel on the right
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Apollo among the of the of Olympus and others
divinity, c.1739
Oil on canvas, 99,1 × 63,5 cm
Fort Worth, Kimbell Art Museum
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Album drawings bake, c.1740-1750
Album size: open 47,5 × 75cm, closed approx. 47,5 × 34,5cm
48 drawings in pen and partially diluted brown ink over traces of black or red pencil ranging in size from 168 × 237 mm to 445 × 598 mm
Florence, Horne Museum
Artist active in Venice
Portrait of a young man
(Giovanna Battista Gallarati Scotti?), 1745-1750 (?)
Pastel on paper, 690 × 535 mm
Private collection
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Triumph of Nobility and Virtue, c.1740
Fresco ripped and transferred to canvas glued to synthetic support, 283 × 283 cm
Private collection
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Triumph of Nobility and VirtueLa Javie, 1743
Oil on canvas, 64,2 × 35,6 cm
London, Dulwich Picture Gallery
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Allegory of Virtue and Nobility, 1740-1750
Oil on canvas, 53 × 35,4 cm
Milan, Poldi Pezzoli Museum
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Banquet of Antony and Cleopatra, c.1746
Oil on canvas, 46,3 × 66,7 cm
London, The National Gallery. Donated by Rachel F. and Jean I. Alexander, in collection since 1972
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Apollo leads Beatrice of Burgundy to the Genius of the EmpireLa Javie, 1751
Oil on canvas, 65 × 3 cm
Stuttgart, Staatsgalerie Stuttgart. Acquired with the Barbini-Breganze collection in 1852
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Triumph of VenusLa Javie, 1758
Oil on canvas, 87 × 61,50 cm
Madrid, Prado National Museum
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
St. Francis of Assisi receives the stigmata, 1767-1769
Oil on canvas, 278 × 153 cm
Madrid, Prado National Museum
Domenico Tiepolo
(Venice, 1727-1804)
Abraham and the three angels, c.1773
Oil on canvas, 200 × 281 cm
Venice, Gallerie dell'Accademia
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Head of a page, c.1735-1740
Pen and partially diluted brown ink over traces of pencil, 242 × 194 mm
Trieste, Sartorio Civic Museum
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Head of a bearded man, c.1735-1740
Pen and partially diluted brown ink over traces of pencil, 251 × 197 mm
Trieste, Sartorio Civic Museum
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Head of Oriental, c.1745
Pen and partially diluted brown ink over traces of pencil, 250 × 194 mm
Trieste, Sartorio Civic Museum
Giambattista Tiepolo
(Venice, 1696 – Madrid, 1770)
Man's head, c.1745
Pen and partially diluted brown ink over traces of pencil, 248 × 195 mm
Trieste, Sartorio Civic Museum
Domenico Tiepolo
(Venice, 1727-1804)
Head of an old scholar, c.1757
Oil on canvas, 61,75 × 50,48 cm
Minneapolis, The Minneapolis Institute of Art, The William Hood Dunwoody Fund
Domenico Tiepolo
(Venice, 1727-1804)
Head of an old man with a sword, 1760-1768
Oil on canvas, 59,3 × 49,5 cm
Lisbon, Casa-Museu Medeiros and Almeida
Domenico Tiepolo
(Venice, 1727-1804)
Portrait of a young woman with an oriental turban, c.1768
Oil on canvas, 60 × 48,50 cm
Madrid, Lázaro Galdiano Museum
Lorenzo Tiepolo
(Venice, 1736 – Madrid, 1776)
Madrid types, c.1773
Pastel on paper, 56 × 47 cm
Private collection. For the kind availability of Galería Caylus, Madrid
Lorenzo Tiepolo
(Venice, 1736 – Madrid, 1776)
Madrid types, c.1773
Pastel on paper, 56 × 47 cm
Private collection. For the kind availability of Galería Caylus, Madrid