Lot Essay
Décrit par James Byam-Shaw comme le thème 'le plus charmant des Domenico de la série religieuse' (The Drawings of Domenico Tiepolo, London 1962, p. 34), cette feuille d'une grande luminosité appartient à un groupe de dessins où Tiepolo expérimente un nombre infini de variations autour de Saint Antoine de Padoue tenant l'Enfant Jésus supporté par des anges et entouré de putti. Le point de départ de cette série pourrait être une peinture de son père Giovanni Battista aujourd'hui conservée au Prado (inv. P3007 ; Giambattista Tiepolo 1696-1770, exhib. cat., Paris, Musée du Petit Palais, 1998, pp. 234-5, ill.).
Praised by James Byam-Shaw as the 'most charming of Domenico’s religious series' (The Drawings of Domenico Tiepolo, London 1962, p. 34), this luminous sheet is part of an extensive group of drawings where Tiepolo experimented endless variations of Saint Anthony of Padua holding the Christ Child supported by angels and surrounded putti. The starting point of the series might have been a painting by his father Giovanni Battista, now in the Prado (inv. P3007; Giambattista Tiepolo 1696-1770, exhib. cat., Paris, Musée du Petit Palais, 1998, pp. 234-5, ill.).
Praised by James Byam-Shaw as the 'most charming of Domenico’s religious series' (The Drawings of Domenico Tiepolo, London 1962, p. 34), this luminous sheet is part of an extensive group of drawings where Tiepolo experimented endless variations of Saint Anthony of Padua holding the Christ Child supported by angels and surrounded putti. The starting point of the series might have been a painting by his father Giovanni Battista, now in the Prado (inv. P3007; Giambattista Tiepolo 1696-1770, exhib. cat., Paris, Musée du Petit Palais, 1998, pp. 234-5, ill.).