The Glorification of the Barbaro Family

Glorification of the Barbaro Family
Giovanni Battista Tiepolo, The Glorification of the Barbaro Family, 1398–1454
By NAYOUNG KWON

Soft, smooth pastel-like textures and majestic poses of mythological creatures are one of Tiepolo's specialties. The Glorification of the Barbaro Family was originally a mere decoration for one of the rooms in Palazzo Barbaro owned by a patrician family of Venice. The family was wealthy and influential within the city, and the members include church leaders, diplomats, patrons of the arts, philosophers, scholars, and scientists. Within the painting, the elements that represent the Barbaro family can easily be spotted. In the center, we can see the Valor, which shows the triumph of power and courage, beside the lion, Fame blows trumpet as she holds the olive branch.  In he left right bottom corner we see Prudence holding a snake, and Nobility holding a statue of Minerva. Tieopolo's The Glorification of the Barbaro Family captures and introduces intelligence and hierarchy of those who are educated. 

Tiepolo an Italian painter has been labeled as the best decorative painter of the Rococo era and is well known for his innovative techniques for luminous finish. The painting above consists of many triangle compositions (for the focal figures), but also 3 out of 4 values of major composition: frieze, Convex and float. When seeing this painting in person at the Met, it impressed me how Tiepolo incorporated so many different color values using only seven different primaries. Although the colors aren't as bold or crisp as other artists, Tiepolo captures the attention of the viewers by using complimentary colors and smoothening the lines so that the whole painting becomes harmonious. 
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The Sacrifice of Isaac

1729
Tiepolo, The Sacrifice of Isaac, 1729
If any one Tiepolo painting could represent the painter's work as a whole, The Sacrifice of Isaac could be it.

Giovanni Battista Tiepolo captures a biblical story in which God tells Abraham to sacrifice his son, Isaac, to test his faith.  When Abraham consents and prepares to strike the fatal blow, an angel descends from the heavens to stop him, declaring that he has proven his loyalty to God's word, sending a bull for the ritual instead.  The painting, like the story, crackles with emotion and power.

Stylistically, The Sacrifice of Isaac represents something unique.  Marking his departure from his master Gregorio Lazzarini's dark colors, Tiepolo creates an airy but tense scene.  He renders his subjects from an unusual perspective, from slightly below to add physical depth and drama.  The subjects' angular limbs and billowing robes all hint at movement and energy.  Notice the mirrored positions of the angel's and Abraham's arms, the look of initial mistrust and then realization and relief in the father's eyes.  A ray of unearthly light creates a line through the sky matching the lean of the humans' bodies and the tree in the background, as though the figures were bending to their creator.

The Sacrifice of Isaac typifies Tiepolo's work with its biblical narrative and lighthearted hues juxtaposed with serious subject matter.  Tiepolo depicts God as neither loving nor malevolent but powerful and omniscient, and he asks the viewer to judge God's nature for himself.  This Enlightenment era line of thinking challenges religion and society.  As Descartes wrote, "...Never has my intention been more than to try to reform my own ideas, and rebuild them on foundations that would be wholly mine...The decision to abandon all one's preconceived notions is not an example for all to follow..."
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Allegory of the Planets and Continents

1752

Giovanni Battista Tiepolo, Allegory of the Planets and Continents, 1752

If the Rococo movement were a contest to include the most post-Baroque extravagance, Giovanni Battista Tiepolo could easily rest on his laurels.  A fresco spanning nearly thirty square feet, Allegory of the Planets and Continents attempts to encapsulate European perspectives of the entire known universe.  The periphery depicts America, Africa, Asia, and Europe, while in the center a line of classical gods spirals up to the sun beyond Apollo.  In keeping with the Rococo standard of over-embellishment and intense details, Tiepolo creates a graceful setting for nearly one hundred deities, humans, and animals.

On the American side of the fresco gathers a feather- and antler-clad band of natives, with a kingly figure almost mockingly perched upon an alligator, maybe a sign of his false throne.  On the opposite side of the work sits, much more elevated, an imperious-looking European ruler with the laurels of Rome, the greatest ruler in the world.  On the other hand, Asia's leader figure appears to be falling off of an elephant as other humans tumble on the ground and a philosopher gesticulate.  And the "African" representatives glory in wealth and lie lazily against camels.  One could note how the actual African continent is neglected in favor of Middle Eastern culture.  The sky holds Hermes with his trademark caduceus and array of other winged beings on clouds.

Allegory of the Planets and Continents isn't a simple ceiling decoration.  For a moment, stop analyzing.  Just observe.  Count the subjects.  See how the dark border fades into sunlight.  It may not be politically correct, but it is an artistic attempt to capture the world with exquisite detail.  Even if it's a very Eurocentric world.

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