\paperw5100 \margr0\margl0 \plain \fs20 \f1 Italian painter. \par
His earliest paintings are clearly influenced by the contemporary works of Piazzetta. The diagonal layout of the com
position, the vivid palette, and a dramatic contrast of light and shade are characteristic of the juvenile \i Martyrdom of Saint Bartholomew\i0 (1722), for example. His shift to a more rococo style took place between 1720 and 1730, and culminated in the
masterpiece of his early periodûthe frescoes in the ArchbishopÆs Palace at Udine. Here Tiepolo painted the first examples of his \i trompe-l'oeil\i0 decoration of large spaces, while his range of colors grew paler, moving toward delicate pastel shades.
Paolo Veronese was the model of reference for Tiepolo, who admired the majesty of the sixteenth-century painterÆs compositions and his delicate and precious use of light which harmonized the figures with their surroundings. From 1730 to 1750 Tiepolo wor
ked at a hectic pace, producing huge decorative cycles of both canvases and frescoes, first in Bergamo, then Vicenza, Milan, and Venice. To paint the vast blue backgrounds for the majestic mythological, historical, and religious figures that he depicted,
Tiepolo often relied on the collaboration of the famous \i quadraturista\i0 Girolamo Mengozzi Colonna. For example, this is seen in Palazzo Labia in Venice with the cycle of frescoes representing the story of \i Antony and Cleopatra\i0 (1747-50). In 1
750 Tiepolo went with his sons to Franconia, to decorate several rooms in the BishopÆs Residenz at Wⁿrzburg built by Johann Balthasar Neumann. The historical paintings celebrating the ruling house of Franconia are couched in even more lavish, refined, an
d triumphant style from the airiness of the scheme of composition to the delicate and precious combinations of color and the skillful and generous use of light. Back in Italy, Tiepolo maintained his prolific output. Among other things, he painted the fre
scoes in Villa Valmarana (1757) near Vicenza in which the triumphant tone gives way to a greater sense of intimacy and poetry. In 1762 he left for Madrid, where he spent the last eight years of his life on the prestigious task of frescoing the rooms of C
