Portego
GIANDOMENICO TIEPOLO

1. Giandomenico Tiepolo, 1747
Seated male figure, cl. III, 7198
Blue paper; red and white chalk
The figure is to be seen in relation to that seated at the far left of the fourth Station of the Cross in the church of San Polo, Venice.

2. Giandomenico Tiepolo, 1747
Study of an arm, cl. III, 7359
Blue paper; red and white chalk
This is a study of the right arm of the male figure seated to the extreme left of the fourth Station of the Cross in the church of San Polo, Venice.

3. Giandomenico Tiepolo, 1747

Study of hands, cl. III, 7172
Blue paper, black chalk
This study is for the hands of Christ holding the Cross in the fifth Station of the Cross in San Polo.

4. Giandomenico Tiepolo, 1747
Studies of hands, cl. III, 7221
Blue paper; red and white chalk
Two studies of the right hand of Christ gripping the Cross in the seventh Station of the Cross in San Polo..

5. Giandomenico Tiepolo, 1747
Back view of figure; studies of hands, cl. III, 7068
Grey paper; white, red and black chalk
The figure viewed from the back is to be seen in relation to that to the left of the foreground in the seventh Station of the Cross in San Polo.

6. Giandomenico Tiepolo, 1747
Study of a prelate’s vestments; studies of hands, cl. III, 7069
Grey paper; white, red and black chalk
The two studies of hands in the upper part of the sheet are for the right hand of Christ and the left hand of the boy in the eighth Station of the Cross in San Polo.

7. Giandomenico Tiepolo, 1747 – 49
Figure study, cl. III, 7134
Grey paper; red and white chalk
This is a study for the figure of St Joseph Calasanctius in a, now lost, painting formerly in the church of San Polo. A record of that work can be seen in an etching by Giandomenico himself, in which the composition naturally appears reversed.

8. Giandomenico Tiepolo, 1747 – 49
Study of kneeling figure and drapery, cl. III, 7093
Grey paper; red and white chalk
Studies for the now lost painting of St. Joseph Calasanctius. In the etching, the boy kneeling before the saint naturally appears the other way round.

9. Giandomenico Tiepolo, 1747 – 49
Studies of seated figure; studies of hands and a leg, cl. III, 7142
Grey paper; red, white and black chalk
These are studies for the figure of the young man seated to the left of the foreground in Giandomenico’s painting of St. Vincent Ferreri Preaching to the Mob, in the church of San Polo, Venice.

10. Giandomenico Tiepolo, 1747 – 49
Studies of seated figure, cl. III, 7143
Grey paper; red and white chalk
Again studies for the painting of St. Vincent Ferreri Preaching to the Mob, but here more detailed.

11. Giandomenico Tiepolo, 1747 – 49
Study of figure with raised arm, cl. III, 7082
Grey paper; red and white chalk
A study for the figure of Christ in The Resurrection that Giandomenico would paint for the church of San Polo.

12. Giandomenico Tiepolo, 1747 – 49
Study of arms with joined hands, cl. III, 7085
Grey paper; red, white and black chalk
The drawing is a study for the arms of the angel in the upper right-hand section of the painting of The Resurrection.

13. Giandomenico Tiepolo, 1747 – 49
Two studies for the vestments of St. Macarius, cl. III, 7112
Grey paper; red and white chalk
The drawings are studies for the robe of the saint in Giandomenico’s painting Saints Helen and Macarius Find the True Cross, in the church of San Polo.

14. Giandomenico Tiepolo, 1747 – 49
Study for the robe of St. Macarius, cl. III, 7103
Grey paper; red and white chalk
A more detailed study than the previous work, again for the San Polo painting of Saints Helen and Macarius Find the True Cross.

15. Giandomenico Tiepolo, 1747 – 49
Study for St. Macarius’s right arm and hand, cl. III, 7102
Grey paper; red and white chalk
This is a study for the raised arm of the saint in the San Polo Saints Helen and Macarius Find the True Cross.

16. Giandomenico Tiepolo, 1747 – 49
Study for the figure of a young man, cl. III, 7113
Grey paper; red and white chalk
The drawing is to be seen in relation to the figure of a young man on the far left of the San Polo painting Saints Helen and Macarius Find the True Cross.

17. Giandomenico Tiepolo, 1747 – 49
Study for the face of St. Helen, cl. III, 7111
Grey paper; red, white and black chalk
This is a study for the face of St. Helen in the San Polo painting Saints Helen and Macarius Find the True Cross . The figure bottom-left is an initial idea for the character supporting the lame man to the left of the painting.

18. Giandomenico Tiepolo, 1747 – 49
Study for St. Helen’s mantle, cl. III, 7116
Grey paper; red and white chalk
A first study for the mantle of St. Helen in the San Polo painting Saints Helen and Macarius Find the True Cross.

19. Giandomenico Tiepolo, 1747 – 49
Studies of a reclining figure; studies of feet and hands, cl. III, 7115
Grey paper; red, white and black chalk
These studies should be seen in relation to the figure of the lame man in the San Polo painting Saints Helen and Macarius Find the True Cross.

20. Giandomenico Tiepolo, 1747 – 49
Studies of reclining figure, cl. III, 7114
Grey paper; red and white chalk
More detailed studies for the figure of the lame man in the San Polo painting Saints Helen and Macarius Find the True Cross.

21. Giandomenico Tiepolo, 1747 – 49
St. Filippo Neri, cl. III, 7106
Grey paper; red and white chalk
The first studies for the painting of the saint that Giandomenico would produce for the church of San Polo.

22. Giandomenico Tiepolo, 1747 – 49
Study for the robe of St. Filippo Neri, cl. III, 7105
Grey paper; red and white chalk
A more detailed study of the robe of St Filippo Neri in the San Polo painting.

23. Giandomenico Tiepolo, 1747 – 49
Studies for the figure of a young man, cl. III, 7104
Grey paper; red and white chalk
These studies are for the bust and hands of the young man holding a book who appears in the background of the San Polo painting of St. Filippo Neri.

24. Giandomenico Tiepolo, 1747 – 49
Study of a male figure, cl. III, 7107
Grey paper; red and white chalk
Study for the figure of the executioner on the left in the painting of The Martyrdom of St. John of Nepomuk in the church of San Polo.

25. Giandomenico Tiepolo, 1747 – 49
Study of male figure with raised arm, cl. III, 7108
Grey paper; red and black chalk
This is a study for the figure of the executioner about to throw a stone in the San Polo painting of The Martyrdom of St. John of Nepomuk. The hand to the left of the sheet is to be seen in relation to the same figure, whilst the face and mantle in the lower section are initial ideas for the figure of the saint.

26. Giandomenico Tiepolo, 1747 – 49
Studies of hands and head, cl. III, 7109
Grey paper; red, white and black chalk
Studies for the head and for the hands crossed upon the breast of the saint in the San Polo painting of The Martyrdom of St. John of Nepomuk.
27. Giambattista or Giandomenico Tiepolo, 1751 c.
Studies of hands, cl. III, 7063
Grey paper; red and white chalk
These studies are for Giambattista Tiepolo’s painting The Mathematician, of which all trace has now been lost. Giandomenico made an engraving of the work for his Raccolta di teste numero trenta dipinte dal Sig. Gio. Batt. Tiepolo…incise da Gio. Domenico suo Figlio…. [Collection of Thirty Heads painted by Sig. Giambattista Tiepolo… engraved by his son Giandomenico] produced between 1770 and 1774.

28. Giandomenico Tiepolo, 1750 – 52
Study of the figure of the Virgin, cl. III, 7087
Grey paper; red and white chalk
The drawing should be seen in relation to the etching The Holy Family pass near a Pyramid, the twentieth of the Picturesque Ideas based on the Flight into Egypt which Giandomenico published in Würzburg in 1753. In the etching the figure appears reversed..

29. Giambattista or Giandomenico Tiepolo, 1750 – 52
Back view of a male figure, cl. III, 7064
Grey paper; red and white chalk
The general composition of this figure relates it to the Turk in the centre of the foreground of plate 7 in Picturesque Ideas based on the Flight into Egypt , which shows The Holy Family leaving through a City Gateway. The figure appears reversed in the etching.

30. Giambattista or Giandomenico Tiepolo, 1750 – 52
Virgin and Child, cl. III, 7117
Grey paper; red and white chalk
The drawing is to be seen in relation to n.21 in the Picturesque Ideas based on the Flight into Egypt . As always, the figure appears reversed in the actual etching.

31. Giandomenico Tiepolo, 1773
Studies of arms and hands, cl. III, 7442
Blue paper; red and white chalk
This is a study for the arms and clasped hands of Abraham in the painting Abraham and the Angels, now in the Accademia Gallery, Venice.

32. Giandomenico Tiepolo, 1773
Hand holding a staff, cl. III, 7381
Blue paper; red and white chalk
This study is to be seen in relation to the hand of the angel in the background of the painting Abraham and the Angels, now in the Accademia Gallery, Venice.
33. Giandomenico Tiepolo, 1773
Study of raised hand, cl. III, 7220
Blue paper; red and white chalk
This is a study for the raised hand of the angel in the centre of the painting Abraham and the Angels, now in the Accademia Gallery, Venice.

34. Giandomenico Tiepolo, 1773
Study of right arm, cl. III, 7403
Blue paper; red and white chalk
A study for the outstretched arm of the angel holding a staff in the painting Abraham and the Angels, now in the Accademia Gallery, Venice.

35. Giandomenico Tiepolo, 1773
Studies of feet, cl. III, 7218, 7382, 7402
Blue paper, red chalk
These are studies for the left foot, with a raised big toe, of the angel at the centre of the painting Abraham and the Angels, now in the Accademia Gallery, Venice.

36. Giandomenico Tiepolo, 1775
Studies of arm and hands, cl. III, 7147
Grey paper; red and white chalk
The hands clasped in prayer are a study for those of the apostle to the right of The Last Supper in the Venetian church of La Maddalena, who is resting his hands on the table.

37. Giandomenico Tiepolo, 1775
Hands held in prayer, cl. III, 7389
Blue paper; red, white and black chalk
Another study for the figure who is only partially visible to the far right of The Last Supper in the Venetian church of La Maddalena.

38. Giandomenico Tiepolo, 1775
Studies of hands, cl. III, 7448
Blue paper; red and white chalk
A study for the arm and hand of the apostle resting his elbow on the table, to the right of The Last Supper in the Venetian church of La Maddalena.

39. Giandomenico Tiepolo, 1775
A hand holding a napkin, cl. III, 7391
Blue paper; red and white chalk
This is a detail of the apostle holding a napkin to his mouth in the far right of The Last Supper in the Venetian church of La Maddalena.

40. Giandomenico Tiepolo, 1778 – 79
Hands of an angel thurifer, cl. III, 7386
Blue paper; black and white chalk
This is a study for the hands of the angel thurifer in Giandomenico’s painting The Institution of the Eucharist, now in the Accademia Gallery, Venice.

41. Giandomenico Tiepolo, 1778 – 79
Studies of Hands , cl. III, 7380
Blue paper; black and white chalk
A study for the hands of the two apostles praying to the left of the painting The Institution of the Eucharist, now in the Accademia Gallery, Venice.

42. Giandomenico Tiepolo, 1750 c.
Study of hands and a female face, cl. III, 7145
Grey paper; red and black chalk
This is the last page of the book of drawings. It bears the inscription: “This book of original drawings all taken from the life is by Gio Battista, the son of Tiepolo the painter, in the year 1770. It costs 8 sequins.”

43. Giandomenico Tiepolo, 1756
Colombina, cl. III, 7192
Grey paper; red and white chalk
The drawing should be seen in relation to the figure Colombina in the painting of The Minuet, now in the Museo de Bellas Artes de Cataluña in Barcelona.

44. Giandomenico Tiepolo
God the Father surrounded by angels and cherubs, cl. III, 6012
White paper; pen and brush; brown ink

45. Giandomenico Tiepolo
God the Father surrounded by angels and cherubs, cl. III, 6013
White paper; pen and brush; brown ink

46. Giandomenico Tiepolo
God the Father in Glory, with angel, cherubs and the dove of the Holy Spirit, cl. III, 6014
White paper; pen and brush; brown ink

47. Giandomenico Tiepolo
God the Father in priestly vestments and at prayer, surrounded by angels and cherubs, cl. III, 6015
White paper; pen and brush; brown ink

48. Giandomenico Tiepolo
God the Father surrounded by cherubs with an angel, cl. III, 6017
White paper; pen and brush; brown ink

49. Giandomenico Tiepolo
God the Father surrounded by cherubs and angels, cl. III, 6017
White paper; pen and brush; brown ink

Giandomenico Tiepolo did numerous drawings of “God the Father in Glory amidst the Clouds”. The Museo Correr possesses fourteen such studies. All signed works of around the same size and technique, they reveal the artist applying his imagination to produce a lively series of variations on the theme.
In his The Drawings of Domenico Tiepolo (Oxford 1962), J. Byam Shaw mentions around sixty such drawings in private and public collections and suggests they were destined for sale to collectors. In general, the composition is inspired by that which appears in the upper part of the painting St. Tecla intercedes to free Este from the Plague, in the Este Cathedral, which Giambattista completed in 1759.
It is probable that Giandomenico’s drawings date from much later; the mastery of pen and water-colour they demonstrate is much closer to that one sees in the drawings the artist produced during the 1790s.

Guardi Room
GIAMBATTISTA TIEPOLO

50. Giambattista Tiepolo, 1745 – 50
Portrait of a Young Man, cl. III, 7121
Grey paper; red and white chalk
This is one of the most atmospheric of the Tiepolo drawings in the Museo Correr collection. It would seem to be a preparatory sketch for the head of St. Fermo in the painting The Saints of the Crotta Family, now in Frankfurt.

51. Giambattista Tiepolo, 1748
Male face with napkin raised to the mouth, cl. III, 7129
Grey paper; black and white chalk
The drawing is a study for a similar figure in the painting of The Last Supper in the parish church of Desenzano.

52. Giambattista Tiepolo, 1750 c.
Study of male nude; a leg; female, cl. III, 7144
Grey paper; red and white chalk
The male nude and leg are studies for the figure of St. Sebastian in the altarpiece of Noventa Vicentina: Saints Roch and Sebastian.

53. Giambattista Tiepolo, 1750 c.
Bust of female figure, cl. III, 7077
Grey paper; black and white chalk
This very striking drawing is marked by an incisiveness of line – sometimes scarcely traced in – and the skilful use of white chalk to highlight the composition.

54. Giambattista Tiepolo, 1753 c.
Male figure turned to the left, cl. III, 7062
Grey paper; red and white chalk
The drawing is to be seen as a study for the figure of the stucco-master Antonio Bossi who appears in the frescoes of Europe, Asia, Africa and America which decorates a ceiling cornice in the Archiepiscopal Residence of Würzburg.

55. Giambattista Tiepolo, 1753 c.
Male figure turned to the right, cl. III, 7060
Grey paper; red and white chalk
This figure enveloped in a rich cloak can be seen as part of the numerous studies which the artist produced for the figure of Antonio Bossi in the Würzburg fresco.

56. Giambattista Tiepolo, 1753 c.
Male figure turned to the left; study of a face, cl. III, 7074
Grey paper; red and white chalk
Again a study for the figure of Antonio Bossi in the Würzburg fresco; the very expressive face can also be seen in relation to the same figure.

57. Giambattista Tiepolo, 1753 c.
Male figure turned to the left, cl. III, 7094
Grey paper; red and white chalk
A further study for the figure of Antonio Bossi in the Würzburg fresco.

58. Giambattista Tiepolo, 1753 c.
Male figure with a fur-trimmed cloak, cl. III, 7122
Grey paper; red and white chalk
This can be seen as another of the numerous studies for the figure of Antonio Bossi.

59. Giambattista Tiepolo, 1753 c.
Study of an officer, cl. III, 7393
Blue paper, red chalk
The drawing has been identified as a study for the figure of the engineer Balthasar Neumann, who appears in the depiction of Europe on the ceiling of the staircase at Würzburg.

60. Giambattista Tiepolo, 1753 c.
Male figure lifting a bale, cl. III, 7157
Blue paper; red and white chalk
This is a study for a figure which appears in the Africa section of the ceiling of the Würzburg staircase.

61. Giambattista Tiepolo, 1753 c.
Studies of military headgear, cl. III, 7083
Grey paper; red and white chalk
Military headgear similar to that which appears here can be seen alongside the figure of Balthasar Neumann in the Europe section of the ceiling of the Würzburg staircase.

62. Giambattista Tiepolo, 1759
Two angels, cl. III, 7354
Grey paper; red and white chalk
These two angels are a study for a detail in the frescoed ceiling of the Oratorio della Purità in Udine.