![]() His son, Antonio Diziani, painted interior and exterior vedute of mainly Venice. His pupils included Pietro Edwards and Jacopo Marieschi (1711–1794). This work is now known only through an engraving by Claude Vasconi. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a "magnificent decoration for the church of San Lorenzo in Damaso". He also worked as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, in conjunction with Alessandro Mauro. Diziani's celerity and technical assurance are evident from preparatory oil sketches, where color has been applied in rapid and spirited strokes. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. His career largely overlapped with Lazzarini and Ricci's fellow pupil, Giambattista Tiepolo, who was seven years his elder.īetween 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of Santo Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. His earliest training was in his native town of Belluno with Antonio Lazzarini. ![]() ![]() 14 As the story goes, Alexander decided one day. The artist's canvas is the largest painting of the Hermitage Museum in St. In early modern England, the anecdotal encounter between Diogenes and Alexander served as the basis for invoking Diogenes as the period’s ideal of an honest and forthright counselor, and, in Timon, Shakespeare and Middleton chiefly respond to an extremist subset of this interpretive tradition. Gaspare Diziani was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich.
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