乔瓦尼·巴蒂斯塔·皮亚泽塔Giovanni Battista Piazzetta

乔瓦尼·巴蒂斯塔·皮亚泽塔（Giovanni Battista Piazzetta）（1683年2月13日——1754年4月28日）他在威尼斯接受了最初的艺术教育，后来又去波伦亚的克雷斯皮工房里学习了多年。1711年，乔瓦尼·巴蒂斯塔·皮亚泽塔才又回到威尼斯，从那以后除了去外地作短暂的旅行之外凡乎从未离开过那里。

中文名乔瓦尼·巴蒂斯塔·皮亚泽塔
外文名Giovanni Battista Piazzetta
性别男
国籍意大利
出生地威尼斯
出生日期1683年2月13日
逝世日期1754年4月28日
职业画家

传

皮亚泽塔出生于威尼斯，雕塑家的儿子贾科莫皮亚泽塔，从他有木雕早期训练。在1697年开始，他师从画家安东尼奥·莫利纳里。通过皮亚泽塔的帐户，他师从朱塞佩·玛丽亚·克雷斯皮住在博洛尼亚，而在1703年至1705年，虽然有正规的监护克雷斯皮没有记录。由于克雷斯波，卡罗·西格纳尼的影响力达到皮亚泽塔。皮亚泽塔确实发现克雷斯皮的艺术，其中的灵感明暗对比的卡拉瓦乔转化成风姿绰约在他的普通人的照片一个成语。他还极大地由一个半世纪前，另一博洛尼亚画家创造的祭坛画印象深刻圭尔奇诺。

1710左右，他回到威尼斯。在那里，他赢得了认可作为一个著名艺术家，尽管他有限的产量和他谦逊的本性，但他最终还是较少光顾，无论是在威尼斯，尤其是出国，比威尼斯人迟发另外两个著名的明星巴洛克式 / 洛可可，利玛窦和提埃波罗。但Piazzeta的话题范围比这些艺术家的更广泛的; 提埃波罗，例如，从来没有画风俗画和限制自己辉煌的历史和宗教祭坛。利玛窦和提埃波罗有一个发光的调色板和简便易用性是它们允许天花板壁画地毯米，虽然有肤浅和魅力是来自皮亚泽塔的黑暗，更贴心的描写缺席。尽管如此，提埃波罗，谁在一些项目合作皮亚泽塔，在很大程度上受到老艺术家的影响;反过来，提埃波罗的调色板的亮度和光彩在他晚年的影响皮亚泽塔。

皮亚泽塔创造热情，丰富的色彩和神秘的诗歌艺术。他经常描绘的农民，即使经常在一个盛大的时装。他是在色彩，他有时在他的阴影中使用的强度非常原始，并在鬼神质量，他给它抛出一个组成投入到救灾的一部分光。该手势和他的主人公的眼神暗示看不见的电视剧，在他最著名的画作之一，占卜者（1740，现在在Gallerie dell'Accademia美术馆，威尼斯）。他带来了类似难以捉摸一个宗教性质的作品，如心腹苏 的荣耀圣多米尼克在教堂圣若望及保禄大殿。

另外值得注意的是半身人物或磁头组他的许多精心绘制图纸。通常在木炭或黑色粉笔用白色加高灰纸，这些都充满了动画他的作品同样的精神，并深受收藏家作为独立的作品被购买。他还制作版画。

在1750皮亚泽塔成为了新成立的第一任主任艺术学院DI佳丽ARTI威尼斯，他专门在过去几年他的生活教学。他被选为博洛尼亚的成员Accademia的克莱门蒂娜1727年在他的工作室，画家们多梅尼科·马焦，弗朗西斯Dagiu（IL卡佩拉），约翰·海因里希·Tischbein，艾智德达洛利奥和安东尼奥·马里内蒂。雕刻机马尔科Pitteri被附属于自己的工作室，并刻有他的许多作品。在谁模仿他的风格更年轻的画家是乔瓦尼·巴蒂斯塔Pissati。朱喇嘛，费德里科Bencovich和弗朗西斯Polazzo（1683年至1753年）。他在威尼斯死于1754年4月28日。

English Introduction

Biography

Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta's account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703–05, although there is no record by Crespi of formal tutelage. Thanks to Crespi, Carlo Cignani's influence reached Piazzetta. Piazzetta did find inspiration in Crespi's art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm in his pictures of common folk. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino.

Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in Venetian late-Baroque/Rococo, Ricci and Tiepolo. yet Piazzeta's range of topics was broader than that of these artists; Tiepolo, for example, never painted genre paintings and restricted himself to grand history and religious altarpieces. Ricci and Tiepolo had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta's darker and more intimate depictions. Nonetheless,Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo's palette influenced Piazzetta in his later years.

Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer (1740, now in Gallerie dell'Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Sotto in su Glory of St. Dominic in the Church of Santi Giovanni e Paolo.

Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually incharcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced engravings.

In 1750 Piazzetta became the first director of the newly founded Accademia di Belle Arti di Venezia, and he devoted the last few years of his life to teaching. He was elected a member of the Bolognese Accademia Clementina in 1727. Among the painters in his studio were Domenico Maggiotto, Francesco Dagiu (il Capella),Johann Heinrich Tischbein, Egidio Dall'Oglio, and Antonio Marinetti. The engraver Marco Pitteri was affiliated with his studio, and engraved many of his works. Among younger painters who emulated his style are Giovanni Battista Pissati,. Giulia Lama, Federico Bencovich, andFrancesco Polazzo (1683–1753). He died in Venice on April 28,

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美术百科参考资料

1、Giovanni Battista Piazzetta