Art of Italy – EIGHTEENTH CENTURY.
The process of the decline of Italian art in many of its most important centers gained momentum in the eighteenth century., from which only Venice and Rome were free. The former owed its leading role to the reborn after a hundred years' break., great decorative tradition. This put Venice at the forefront of the European Rococo, ornamental style derived from the Baroque.
Sebastiano Ricci promoted a modernized version of the Veronesea style (1659-1734). whose paintings are superficially similar to the works of the great colorist, but their mood is airy and less solemn. The greater individuality was Giovanni Battista Piazetta (1683-1754), whose pictures, with his perfect drawing, they seem to be made lightly and freely, and yet they were extremely carefully planned. Venice boasted an outstanding portraitist in the person of Rosalby Carrier (1675-1757), which was the first to use pastel as a separate painting technique. By far the most prominent representative of Venetian Rococo and one of the greatest decorative artists of all time was Giovanni Battista Tiepolo (1696-1770). His works look best in an architectural setting, where their illusionism is very favorable to the works of earlier Roman artists in terms of colors, composition, spaciousness, fantasy and depth of feeling. He made the most beautiful decorations for foreign patrons (in Wiirzburg and Madrid). but excellent works can also be seen in Udine, Vicenzie and Stra. and a lot in Venice itself, especially in Palazzo Labia and Ca Rezzonico.
His son. Giovanni Domenico Tiepolo (1727-1804), he helped him with many projects and painted in a fairly similar style, although he was more inclined towards satire. There were also several painters in Venice specializing in views of the city., offered in memory of his distinguished guests. The most famous of them was Antonio Canaletto (1697-1738), whose pictures, often painted on the spot and using a camera obscura. determined the way, how the architecture and life of Venice were seen through later generations. However, it is a very idealized image of Venice, on which the urban layout has been changed, and sometimes even individual buildings. Canaletto's nephew, Bernardo Belotto (1721-80). it closely followed its style and immortalized it in other cities all over Europe, but he set himself the goal of topographical accuracy. Less cheerful, and the more reflective mood is permeated with the scenic pictures of Venice by Francesco Guardi (1712-93), who used a darker palette. Its emphasis on temporary lighting effects heralds French impressionism, while his characters are more dynamic than in Canaletto's. Genre scenes were also very popular among tourists at that time, and to meet this demand Longhi Floor (1702-85). gifted with mediocre technique. but with a great sense of humor, he vividly presented the life of the Venice of his time.
Among the painters from outside Venice, Alessandro Magnasco stands out (1677-1749). often combining two favorite themes in one painting – landscapes painted in a characteristic manner with raging elements and monks in an escapist prayer. In Rome, the views for tourists were painted by Giovanni Paolo Panini (Ok. 1692-1765/8), showing both classical ruins and contemporary buildings. Much better quality, however, were the large size of Giovanni Battista Piranesi's engravings. (1720-78). which fully exploits the chiaroscuro effects achievable in this black and white species.
The latter can be considered an early manifestation of neoclassicism. Mainstream, which began in the middle of the century, inspired in part by opposition to Baroque outgrowths, and partly the fascination caused by the discovery of Pompeii and Herculaneum, although many representatives of this direction were foreigners living in Rome. Neoclassicism was moving towards a full revival of ancient art., which was particularly strong in the sculpture, who inherited a much greater classical legacy than painting. This is best seen in the work of Antonio Canova (1757-1822). characterized by the extraordinary beauty of modeling. although some coldness in conveying emotions. His statues are often characterized by a large dose of eroticism: numerous monuments, which he performed in honor of Napoleon include life-size nudes. one of which is currently in Brara, in Milan.