Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice)
Oil on canvas
46 x 32 1/2 in. (116.8 x 82.6 cm)
John Stewart Kennedy Fund, 1913
On view at The Met Fifth Avenue in Gallery 622
This is a model for a ceiling of the ducal palace, Genoa (destroyed). At the top of the central staircase Jacopo Giustiniani is shown kneeling before a personification of the Ligurian Republic. The Giustiniani coat of arms and that of Genoa are on two banners. A female figure in Greek dress in the left corner represents the island of Chios; the scroll she holds has the initials V.I. and 1562, in reference to a sixteenth-century governor of the island, Vincenzo Giustiniani. Figures in oriental dress on the right side allude to the commercial enterprises of the Giustiniani in Asia Minor and the islands of the Greek archipelago.
Inscription: Inscribed: (on log) MZ; (on bale) T/MA; (on box) I/B·T; (on banner suspended from trumpet) VIRTUS (virtue); (on scroll) CIVITAS CHY (city of Chios) / V.I. (VINCENZO GIUSTINIANI) / 1562
?Osnago family, Padua and Milan; [Trotti, Paris, until 1913, as by Giovanni Battista Tiepolo, Allegory of the Naval Battle of Lepanto; sold to MMA]
Genoa. Santa Maria di Castello. August 24–September 4, 1783.
Wooster, Ohio. Josephine Long Wishart Museum of Art. "Exhibition of Paintings of French, Italian, Dutch, Flemish and German Masters, lent by The Metropolitan Museum of Art," October 20–December 15, 1944, unnumbered cat. (p. 9).
Venice. Palazzo d'Italia ai Giardini and Ca' Rezzonico (Museo del Settecento Veneziano). "Mostra del Tiepolo," June 3–October 7, 1951, no. 129 (as "La Gloria di Jacopo Giustiniani").
Akron, Ohio. Akron Art Institute. February 19–March 23, 1952.
London, Canada. McIntosh Memorial Gallery, University of Western Ontario. "14th - 15th - 16th - 17th - 18th Century Italian Masters," March 24–April 24, 1956, unnumbered cat.
Baltimore Museum of Art. "Age of Elegance: The Rococo and Its Effect," April 25–June 14, 1959, no. 206.
New York. The Metropolitan Museum of Art. "Oil Sketches by 18th Century Italian Artists from New York Collections," January 30–March 21, 1971, no. 35.
Codroipo. Villa Manin di Passariano. "Tiepolo," June 27–October 31, 1971, no. 85.
New York. The Metropolitan Museum of Art. "Venetian Paintings in the Metropolitan Museum," May 1–September 2, 1974, no catalogue.
Birmingham, Ala. Birmingham Museum of Art. "The Tiepolos: Painters to Princes and Prelates," January 8–February 19, 1978, no. 95.
Springfield, Mass. Museum of Fine Arts. "The Tiepolos: Painters to Princes and Prelates," March 19–May 7, 1978, no. 95.
The Metropolitan Museum of Art. "Domenico Tiepolo: Drawings, Prints, and Paintings in The Metropolitan Museum of Art," January 23–April 27, 1997, no catalogue.
Genoa. Palazzo Ducale. "El siglo de los Genoveses e una lunga storia di arte e splendori nel palazzo dei dogi," December 4, 1999–May 28, 2000, no. XV.7 (as La Gloria dei Giustiniani).
B[ryson]. B[urroughs]. "Allegorical Sketch for a Ceiling by G. B. Tiepolo." Metropolitan Museum of Art Bulletin 8 (April 1913), pp. 70–71, ill., attributes this sketch to Giovanni Battista Tiepolo; notes that the seated lady typifies the city of Genoa, judging from the coat of arms on a flag nearby.
Arthur McComb. The Baroque Painters of Italy: An Introductory Historical Survey. Cambridge, Mass., 1934, p. 127, attributes it to Giambattista Tiepolo.
M[ax]. Goering inAllgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 33, Leipzig, 1939, p. 160, as The Glorification of Jacopo Giustiniani by Giovanni Domenico Tiepolo.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 289, ill., gives it to Giandomenico Tiepolo.
Stefano Rebaudi. "L'affresco di Gian Domenico Tiepolo nel soffitto della Gran Sala del Palazzo Ducale in Genova." Giornale storico e letterario della Liguria 16 (1940), pp. 67–68, describes the circumstances of the commission, the 1783 sketch, and the ceiling fresco, which was completed by Gian Domenico and shown to an enthusiastic public on November 19, 1785.
Carlo Donzelli. I pittori veneti del Settecento. Florence, 1957, p. 231, as Domenico Tiepolo's La gloria di S. Giustiniano.
Rodolfo Pallucchini. La pittura veneziana del Settecento. Venice, 1960, p. 261, fig. 693.
Adriano Mariuz. Giandomenico Tiepolo. Venice, , pp. 128, 154, pl. 322, observes that the composition derives from Giambattista's ceiling in the throne room of the Royal Palace, Madrid.
Aldo Rizzi. Mostra del Tiepolo. Exh. cat., Villa Manin di Passariano. Vol. , "Dipinti."[Milan], , pp. 167, 179, no. 85, ill.
F. Pesenti inLa pittura a Genova e in Liguria dal Seicento al primo Novecento. Ed. Colette Bozzo Dufour. Genoa, 1971, vol. 2, p. 402.
Günter Passavant. "Mostra del Tiepolo: Zur Ausstellung in der Villa Manin di Passariano." Kunstchronik 24 (December 1971), pp. 368–69, fig. 8b (detail), suggests political overtones in the treatment of the figure of Chios.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 198, 509, 606.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 67–69, pls. 82–83 (overall and detail), note that here Giandomenico was dependent on his father's style a decade after the latter's death; mention a drawing that may be a preliminary sketch, illustrated in the Burlington Magazine 107, September 1965, p. xiii.
George Knox. "Tiepolo Paintings at Birmingham (Alabama)." Burlington Magazine 120 (March 1978), p. 189.
George Knox. "'Primi Pensieri' by Domenico Tiepolo, and a New Painting." Master Drawings 17 (Spring 1979), p. 33, accepts the drawing illustrated in the September 1965 Burlington Magazine as a study for the ceiling, the competition for which Giandomenico won, "possibly" with this sketch.
George Knox. Giambattista and Domenico Tiepolo: A Study and Catalogue Raisonné of the Chalk Drawings. Oxford, 1980, vol. 1, p. 309, no. P.169.
Monica De Re inLa pittura in Italia: il Settecento. Ed. Giuliano Briganti. 2nd ed. Milan, 1990, vol. 2, p. 880.
Lilli Ghio and Massimo Bartoletti. La pittura in Italia: il Settecento. Vol. 1, La pittura del Settecento in Liguria. 2nd ed. Milan, 1990, p. 27.
Adriano Mariuz inDomenico Tiepolo: Master Draftsman. Ed. Adelheid M. Gealt and George Knox. Exh. cat., Indiana University Art Museum. Bloomington, 1996, p. 29 [Italian ed., "Giandomenico Tiepolo, maestria e gioco: disegni dal mondo," Milan, 1996].
Linda Wolk-Simon. "Domenico Tiepolo: Drawings, Prints, and Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 54 (Winter 1996/97), pp. 41–44, fig. 64 (color), notes that Giandomenico's figures are the "more audaciously foreshortened".
Rodolfo Pallucchini. La pittura nel Veneto: il Settecento. 2nd ed. Milan, 1996, vol. 2, p. 586.
George Knox. "Giandomenico Tiepolo: disegni." Giandomenico Tiepolo: maestria e gioco, disegni dal mondo. Ed. Adelheid M. Gealt and George Knox. Exh. cat., Castello di Udine. Milan, 1996, pp. 47–48.
William L. Barcham inThe Dictionary of Art. Ed. Jane Turner. Vol. 30, New York, 1996, p. 864, calls the design an amalgam of Giambattista's frescoes in the Gesuati, Venice, and the Palacio Real, Madrid, noting that Giandomenico's sketch reveals that he had studied his father's use of political iconography.
Caterina Olcese Spingardi inEl siglo de los Genoveses e una lunga storia di arte e splendori nel palazzo dei dogi. Exh. cat., Palazzo Ducale, Genoa. Milan, 1999, p. 420, no. XV.7, ill. pp. 406 (detail, color), 421 (color).
Maurizia Migliorini. "Tra divulgazione e storiografia artistica." Pittura e decorazione a Genova e in Liguria nel Settecento. Ed. Ezia Gavazza and Lauro Magnani. Genoa, 2000, p. 390.
Everett Fahy inThe Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, p. 103.
Katharine Baetjer inThe Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 64–68, no. 10, ill. (color, overall and detail).
This is a design for one of Giovanni Domenico Tiepolo's last major public commissions, the central fresco for the vault of the main council chamber ("salone del maggior consiglio") of the ducal palace in Genoa. In August 1784 Giandomenico won the competition, to which fifteen artists had submitted designs, with this "bozzetto," which was pronounced brilliant and which was said to accord perfectly with the imagery specified for the competition. The judges must have weighed in his favor the heritage of his father, Giovanni Battista Tiepolo, whose ceilings at Madrid and Würzburg were the models for his son's invention. The fresco, painted between April and November 1785, was praised when it was unveiled but fell into disfavor and ruin with the advent of Neoclassicism and was replaced in 1866 with a fresco by the Genoese painter Giovanni Isola.
The imagery conforms to that specified in the competition, which was sponsored by members of the Giustiniani family: the fifteenth-century naval hero Jacopo Giustiniani presents a sword to a personification of the Ligurian republic. Banners bear the arms of the Giustiniani family and of the city of Genoa, while the turbaned matron at the lower left represents the Greek island of Chios, which had been conquered for the Catholic church in 1346 and thereafter administered as a mercantile outpost by members of the Genoese Giustiniani family until it fell to the Turks in 1566.