Giovanni Battista Collection (page 2)

Study for a Ceiling with the Personification of Counsel, before c. 1762

Madonna of the Goldfinch, c. 1767 / 1770. Creator: Giovanni Battista Tiepolo
Madonna of the Goldfinch, c. 1767/1770

Wealth and Benefits of the Spanish Monarchy under Charles III, 1762

Bacchus and Ariadne, c. 1743 / 1745. Creator: Giovanni Battista Tiepolo
Bacchus and Ariadne, c. 1743/1745

Apollo Pursuing Daphne, c. 1755 / 1760. Creator: Giovanni Battista Tiepolo
Apollo Pursuing Daphne, c. 1755/1760

Burgonet with Falling Buffe, French, ca. 1550. Creator: Unknown
Burgonet with Falling Buffe, French, ca. 1550. Scenes from Greek mythology depicting the Battle of Centaurs and Lapiths. Probably made for Henry II of France

View from the street entering beneath the gateway to the city of Pompeii, with the foot paths and the shops, from Antiquites de Pompeia, tome premier, Antiquites de la Grande Grece

View of the interior of the city of Pompeii, from Antiquites de Pompeia, tome premier, Antiquites de la Grande Grece... (Antiquities of Pompeii, volume one, Antiquities of Great Greece...), volume 1

Ariadne, Cupid and Bacchus, 1788. Creator: Francesco Bartolozzi
Ariadne, Cupid and Bacchus, 1788

Acis and Galatea, 1787. Creator: Francesco Bartolozzi
Acis and Galatea, 1787

Christ confounding the doctors, 1750-70. Creator: Andrea Scacciati
Christ confounding the doctors, 1750-70

Vase with Two Winged Figures Draping a Term, 17th century. Creator: Rene Boyvin
Vase with Two Winged Figures Draping a Term, 17th century

Vase with a River God in an Oval Medallion, 17th century. Creator: Rene Boyvin
Vase with a River God in an Oval Medallion, 17th century

Vase with Two Winged Satyrs, 17th century. Creator: Rene Boyvin
Vase with Two Winged Satyrs, 17th century

Portrait of Giovanni Battista Piazzetta, early 18th century

Roman arms, standards, and trophies, a composition divided into two horizontal bands, 1774

A bearded, seated man looks over his right shoulder toward a child and woman bearing a vessel, possibly a variation on a theme of Armida and Adraste from Jerusalem delivered (Gerusalemme liberata)

Man in a turban, depicted in bust length format from behind in three-quarters view, from the series Collection of heads (Raccolta di teste), ca. 1770

Bearded man wearing a turban, depicted in bust length from behind in three-quarters view, from the series Collection of heads (Raccolta di teste), ca. 1770

Three soldiers and a youth lying on his abdomen in a landscape, the soldiers bear armour and a flag, from the series The Capricci, ca. 1740-42

Demonstration panel showing technique for raising travertine and marble blocks for the construction of the tomb of Cecilia Metella, Rome, from the series Le Antichita Romane, 1756

Plate 6: Ruins of an ancient tomb in front of ruins of an ancient aqueduct; above the arches of the latter is the channel which conveyed the water to Rome

Plate 3: Ancient mausoleum erected for the ashes of a Roman emperor (Mausoleo antico eretto per le ceneri d un imperadore romano)

Partial elevation and plan of the first-order portico at the Theater of Marcellus (Dimostrazione di una parte de portici del prim ordine del Teatro di Marcello), from Le Antichita Romane, 1756

Elevation and plan of the second-order portico at the Theater of Marcellus (Teatro di Marcello), Rome, from the series Le Antichita Romane, 1756

Section of column base from the Temple of Fortuna Virilis (Tempio della Fortuna Virile), from the series Le Antichita Romane, 1756

Plan and facade of the Temple of Fortuna Virilis (Tempio della Fortuna Virile), from the series Le Antichita Romane, 1756

Profile of the Temple of Fortuna Virilis (Profilo del Tempio della Fortuna Virile), and section of the temple, from the series Le Antichita Romane, 1756

Plate 10: The ancient Capitol ascended by approximately one hundred steps [...] (Campidoglio antico a cui si ascendeva per circa cento gradini [...])

Plate 9: Colonnaded hall according to the custom of the ancient Romans, and niches adorned witn statues (Sala all uso degli antichi Romani con colonne, e nicchie ornate di statue)

Cornice and column from the Temple of Fortuna Virilis (Tempio della Fortuna Virile), from Le Antichita Romane, 1756

Plan of a tomb on the Appian Way in Vigna Buonamici (Pianta di un sepolcro sull antica Via Appia nella Vigna Buonamici), from the series Le Antichita Romane, 1756

Plate 7: Ancient altar on which sacrifices were performed in antiquity, surrounded by other ruins (Ara antica sopra la quale si facevano anticamente i sagrifizi, con altre ruine all intorno)

The Capitol and the steps of S. Maria in Aracoeli (Veduta del Romano Camipidoglio con scalinata che va alla chiesa d Araceli), ca. 1775

The Piazza della Rotonda, with the Pantheon and Obelisk (Veduta della Piazza della Rotonda), ca. 1751

The Arch of Septimius Severus, with the Church of S. Martina on the right (Arco di Settimio Severo), ca. 1759

The Piazza di Spagna (Veduta di Piazza di Spagna), ca. 1750

S. Giovanni in Laterano, main facade, with Palace and Scala Santa on the right (Veduta della Basilica di S. Giovanni Laterano), ca. 1749

The Forum Romanum, or Campo Vaccino, from the Capitol, with the Arch of Septimius in the foreground left, Temple of Vespian right, and the Colosseum in the distance (Veduta di Campo Vaccino), ca. 1775

Bird in shell at the center of the lintel, with a frieze of trophies, surmounted by an overmantel with candelabra and flanked by chairs. (Ch. decoree d une frise de casques et d armures...), 1769 (?)

Hadrians Villa: The Piazza d Oro (Piazza of Gold) (Veduta degli Avanzi della Circonferenza delle antiche Fabbriche di una delle Piazze della Villa Adriana oggidi chiamata Piazza d oro), ca. 1776

A view of part of the intended Bridge at Blackfriars, London, ca. 1764

S. Constanza (erroneously callled Temple of Bacchus) (Veduta interna del Sepolcro di S. Constanza, fabbricato da Costantino Magno, ed erroneamente detto il Tempio di Bacco)

The Temple of Venus and Roma (erroneously called Temple of Sol and Luna) (Veduta degli avanzi di due triclini che appartenevano alla Casa aurea di Nerone), ca. 1759

The smaller harbor, called the Porto di Ripetta (Veduta del Porto di Ripetta), ca. 1753. Built in 1704 by the Italian Baroque architect Alessandro Specchi

The Basilica of Constantine (Veduta degli avanzi della Casa aurea di Nerone, detti volgarmente il Tempio della Pace, ca. 1757

The Theatre of Marcellus (Teatro di Marcello), ca. 1757

The Temple of Vespasian and Titus (Veduta del Tempio di Giove Tonante), ca. 1756. Temple of Jupiter Tonans

For sale as Licensed Images

Choose your image, Select your licence and Download the media

"Giovanni Battista: A Master of Artistic Splendor" In the world of art, few names evoke a sense of grandeur and magnificence quite like Giovanni Battista. Renowned for his breathtaking works, this Italian artist left an indelible mark on the artistic landscape. As we delve into Volume IV of "The Antiquities of Rome" by Giambatista Piranesi, we are transported to a realm where ancient ruins come alive with intricate details and vibrant colors. Among these pages, we encounter Tiepolo's masterpiece "Saint Thecla Praying for the Plague-Stricken. " With each brushstroke, he captures not only the saint's fervent devotion but also the anguish and hope in her eyes. Moving forward, we find ourselves mesmerized by "The Chariot of Aurora, " a celestial scene that seems to transcend time itself. Tiepolo's skillful hand brings forth an ethereal beauty as dawn breaks across the canvas, and is here that we witness his ability to create harmonious compositions filled with light and movement. In "Allegory of the Planets and Continents, " Tiepolo showcases his mastery over both mythological symbolism and architectural precision. As planets align above majestic continents, his attention to detail transports us into a world where imagination reigns supreme. Continuing our journey through Giovanni Battista's oeuvre, we stumble upon "View of the Facade of Basilica S. Croce in Gerusalemme. " Here, stairways adorned with magnificent architecture beckon us towards sacred spaces steeped in history and reverence. Tiepolo's genius extends beyond religious subjects; it encompasses scenes from mythology as well. In "Woman and Infant Satyr in a Landscape, " he captures a moment frozen in time – a woman twisting her body to catch sight of something unseen while an infant satyr curiously observes their surroundings.