10 November 2020
Giambattista Tiepolo 250th Death Anniversary
Printing: 4 colour offset, a Pantone and yellow fluorescent invisible ink by Cartor Security Printing
Perforation: 13¼ x 13
Date Of Issue: 10 11 2020
Print Run: 30.000
250th anniversary of the death of Giambattista Tiepolo
San Marino commemorates Giambattista Tiepolo, the greatest painter of the 18th century and the last representative of the glorious Venetian School. On the series there are two of his works at the Scuola Grande of San Rocco “Abraham and the three angels” and “Agar and Ismael”. By concession of: Scuola Grande di San Rocco, Venice
Giovanni Battista Tiepolo (March 5, 1696 – March 27, 1770), also known as Giambattista (or Gianbattista) Tiepolo, was an Italian painter and printmaker from the Republic of Venice who painted in the Rococo style, considered important member of the 18th-century Venetian school. He was prolific, and worked not only in Italy, but also in Germany and Spain.
Giovan Battista Tiepolo, together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi and Francesco Guardi are considered the traditional Old Masters of that period.
Successful from the beginning of his career, he has been described by Michael Levey as “the greatest decorative painter of eighteenth-century Europe, as well as its most able craftsman.”
Italy, Veneto, Venice, Scuola Grande ‘Archconfraternity of Saint Roch’. Detail. An angel with big wings looks at a young woman, Agar, who keeps sleeping Ismael in her arms.
Agar and Ismael in the Desert (Agar e Ismaele), by Giambattista Tiepolo, 1731 – 1732, 18th Century, oil on canvas, 133 x 112 cm. (Photo by Cameraphoto Arte / Electa / Mondadori Portfolio via Getty Images)
TIEPOLO, GIOVANNI BATTISTA
Venice (Italy), 1696 – Madrid (Italy), 1770
Abraham and the three Angels
Ca. 1770. Oil on canvas. Room 023
This painting presents an event mentioned in the book of Genesis (18, 1. 19). Giambattista Tiepolo had depicted this subject earlier in a painting from the series he painted for the palace of the Archbishop of Udine in 1726. Here, however, it is presented in a more modern manner, with a contained equilibrium among all parts of the composition and a harmonious coexistence of neoclassical values with others marked by a curious pre-Romantic spirit.
This work’s formal type and the basic principles of its style indicate that it was painted towards the end of the artist’s life, possibly at the same time as his paintings for the church of San Pascual in Aranjuez, whose first sketches were made in late August, 1767. Curiously, some aspects reflect the esthetic of Anton Raphael Mengs, a young and more modern painter who was Tiepolo’s competitor at the court in Madrid. Not only does the present work recall the formulas employed in the definitive canvases for the church of San Pascual; it also parallels some of the models used there. That coincidence is especially clear in the imposing angel at the center, whose handsome, arrogant and haughty figure dominates the composition. This angel is extraordinarily similar to the one bearing the Host that presides the now fragmented depiction of Saint Paschal Baylon Worshiping the Holy Sacrament from the series in Aranjuez, which also belongs to the Museo del Prado (P364). A sketch of this latter work is at the Courtauld Institute in London.
Abraham is shown in a worshipful posture before the miracle that has taken place in his own house: the angels who have come to announce that his aged wife, Sarah, will soon conceive a son. As such, he is one of a series of old men with long beards that people Tiepolo’s works. Both Abraham’s posture and that of the other two angels are dynamic, contrasting with the solemnly hieratic stance of the angel who occupies the most outstanding position in the group. The background is interesting for its severe character and the peculiar still life formed by the objects in the lower right corner.
The origin of this work is unknown. It was first mentioned in print in 1942, twenty-eight years after it was donated to the Museo del Prado by the Sainz family. Nothing is known of its earlier history. Consequently, it seems possible that it may originally have been painted for a chapel, possibly part of a religious foundation, or a private prayer chapel belonging to an aristocratic or bourgeois family linked to court circles (Text drawn from Luna, J. J.: El Prado en el Ermitage, Museo Nacional del Prado, 2011, pp. 172-173).
2€ commemorative 2020 “250th anniversary of the death of Giambattista Tiepolo”
Giambattista Tiepolo was the greatest painter of the eighteenth century and the last representative of the glorious Venetian School. His art is linked to the sixteenth-century tradition of Venetian colorists, privileging the themes of light and perspective. The obverse of the 2 euro coin, issued on the occasion of the 250th anniversary of his death, depicts the moment when the angel sent by God saves Hagar and Ishmael who were lost in the desert, pointing to them a source of water. The detail is taken from the painting “Agar and Ismael”, one of the absolute masterpieces of Tiepolo which is kept in the Scuola Grande di San Rocco, an important Venetian confraternity.
Designer: Claudia Momoni
Date Of Issue: 27 08 2020
Theme: 2€ commemorative coins (002)
Print Run: 54.000