Domenico Tiepolo (1727–1804): A New Testament
October 24, 2006, through January 7, 2007
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The Presentation of Mary in the Temple
Private collection, Indiana, on loan to the Indiana University Art Museum, Bloomington
[cat. no. 16]
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Fulfilling her promise to God, Anna delivers Mary to the custody of the Temple. As Reuben spreads his arms in God’s praise and welcome, Anna watches her daughter depart. Joachim, holding Anna’s crutch, stands beside her.
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The Flight into Egypt with the Almighty
The Morgan Library & Museum, New York
[cat. no. 48] |
The Holy Family escapes Herod’s wrath, watched over by God the Father and the Holy Ghost. This unusual confluence of the earthly and heavenly Trinities is surrounded by angels. Soberly confronting her future, the Virgin has the shrouded silhouette she manifests in scenes of death or sorrow, while the lead angel points heavenward, indicating God’s presence.
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The Slaying of Zacharias
Thaw Collection, The Morgan Library & Museum, New York
[cat. no. 86] |
Zacharias was murdered for refusing to reveal John’s whereabouts. Domenico stages the scene in the Temple beneath the tablets of the Ten Commandments (including, of course, Thou shalt not kill). Reminding us of Herod’s brutality against Bethlehem’s innocents, Zacharias lies helpless as his assailant prepares the fatal blow.
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The Third Temptation of Jesus
Private collection, Indiana, on loan to the Indiana University Art Museum, Bloomington
[cat. no. 107]
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On a rocky outcrop Jesus is tempted by Satan’s offer of dominion over the earth. While Satan sits at his feet, Jesus, elevated in his rocky throne, is clearly the spiritual and moral superior.
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The Calling of Matthew
The British Museum, London, National Art Collections
Fund gift in honour of Sir Brinsley Ford, 2002
[cat. no. 127]
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Perhaps in homage to Caravaggio’s famous “modern dress” version, Domenico stages Matthew’s recruitment in an eighteenth-century Venetian bank, with Matthew weighing money as Jesus declares “Follow me.” Mark 2:14 says that Matthew was Levi, the son of Alphaeus, who might be the man sitting at the left.
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The Feast in the House of Simon
The J. Paul Getty Museum, Los Angeles
[cat. no. 165] |
In another allusion to Jesus’ imminent death, Domenico depicts the banquet in honor of the resurrected Lazarus, here being served by his sister Martha while Mary spreads a costly ointment of spikenard on Christ’s feet. Even Lazarus appears distracted by its marvelous aroma. Jesus responds to Judas’ criticism of the expense, saying, “Leave her alone: against the day of my burying she hath kept this.”
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Jesus in the Garden of Gethsemane: The Second Prayer
Private collection, Indiana, on loan to the Indiana University Art Museum, Bloomington
[cat. no. 187]
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Domenico’s sparing depiction of intense spiritual struggle is rich with visual metaphor. The mountain suggests not only the Mount of Olives but also the immense and immutable scale of Christ’s sacrifice. The road, now blocked by a fallen tree, alludes to a destiny from which there is no escape, while underscoring Christ’s lonely vigil.
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The Flagellation of Jesus
Family of Peter Jay Sharp, New York
[cat. no. 193] |
To this traditional scene Domenico adds details of his own invention, particularly the boys gathering sticks to replenish those being broken over Jesus’ body. Pent-up rage is now vented on the condemned man. Jesus is beaten so viciously that he is bent double from the blows. The artist shows one assailant bracing his foot against Jesus’ leg, adopting a pictorial device that has Northern European origins.
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The Apostles Delivered from Prison
Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
[cat. no. 237] |
Peter’s proselytizing landed him and the disciples in prison. Here Domenico depicts another unusual scene: their rescue by an angel. As the angel guides a grateful Peter to the prison door, John the Evangelist awaits him. The playful dogs symbolize their faithfulness and friendship.
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The Apostles’ Creed
National Gallery of Art, Washington, D.C., Gift of Stephen Mazoh & Co., Inc., in Honor of the 50th Anniversary of the National Gallery of Art 1991 [cat. no. 254] |
In another rarely portrayed episode, Domenico considers the origins of the articles of the Catholic faith. Peter, seated on the papal throne, leads the disciples in the creation of their creed in a manner that echoes Saint Ambrose, who stated that each Apostle contributed a line. Illuminated by the cross-emblazoned window, one disciple has just stood up to deliver his contribution.
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The Exaltation of the Sacrament
Bibliothèque municipale de Rouen
[cat. no. 299] |
In a stunning visual interpretation of the Eucharist, Jesus, kneeling on the instruments of his Passion, offers the sacramental cup and wafer to God. The altar itself is adorned with a crucifix, and the scene is blessed by the Holy Ghost. Adoring angels swirl about, echoing Saint John Chrysostom: “the whole sanctuary and the space before the altar is filled with heavenly Powers come to honor Him who is present at the altar” (“De Sacerdotio,” 6, 4).
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