In his fresco decorations at Würzburg, Verona and Madrid, Giambattista Tiepolo revealed the full extent of his imaginative powers, and his highly creative approach to the familiar language of Baroque allegory. Giambattista’s extraordinary capacity for inventiveness can be seen equally in his intimate graphic works as in his grand-scale public commissions. In this article, I intend to explore Tiepolo’s inventiveness and visual rhetoric, particularly in the 1750s and 1760s, and to examine how this poetic visual language essentially lost its public role at the end of his life.
Keywords:
Tiepolo
