Sir Martin Davies , CBE FBA FSA (22 March 1908 – 7 March 1975) was a British museum director and civil servant. He worked at the National Gallery in London from 1930 to 1973, and was Director from 1968.
28-635: Martin Davies may refer to: Martin Davies (museum director) (1908–1975), British museum director and civil servant Martin Davies (law professor) (born 1957), professor of maritime law Martin Davies (writer) (born 1965), British author Martin Davies (footballer) (born 1974), Welsh footballer Martin Davies (philosopher) (born 1949), British philosopher See also [ edit ] Martin Davis (disambiguation) [REDACTED] Topics referred to by
56-628: A ceiling fresco to decorate the throne room of the Royal Palace of Madrid . The panegyric theme is the Apotheosis of Spain and has allegorical depictions recalling the dominance of Spain in the Americas and across the globe. He also painted two other ceilings in the palace, and carried out many private commissions in Spain. However he suffered from the jealousy and the bitter opposition of
84-590: A convincing effect of daylight. His first masterpieces in Venice were a cycle of ten enormous canvases painted to decorate a large reception room of Ca' Dolfin on the Grand Canal of Venice (ca. 1726–1729), depicting battles and triumphs from the history of ancient Rome. These early masterpieces , innovative amongst Venetian frescoes for their luminosity, brought him many commissions. He painted canvases for churches such as that of Verolanuova (1735–1740), for
112-610: A design similar to that of their father, but with distinctive, including genre, styles. His third son became a priest. Fabio Canal , Francesco Lorenzi , and Domenico Pasquini were among his pupils. Some major commissions came from the patrician Dolfin family . Dionisio Dolfin, the Archbishop of Udine in Friuli employed him to decorate a chapel in Udine Cathedral , and then to paint another cycle depicting episodes from
140-612: A family of young children, presumably in somewhat difficult circumstances. In 1710 he became a pupil of Gregorio Lazzarini , a successful painter with an eclectic style. He was, though, at least equally strongly influenced by his study of the works of other contemporary artists such as Sebastiano Ricci , Giovanni Battista Piazzetta and Federico Bencovich , as well those of his Venetian predecessors, especially Tintoretto and Veronese . A biography of his teacher, published in 1732, says that Tiepolo "departed from [Lazzarini's] studied manner of painting, and, all spirit and fire, embraced
168-500: A quick and resolute style". His earliest known works are depictions of the apostles, painted in spandrels as part of the decoration of Santa Maria dei Derelitti in Venice in 1715–6. At about the same time he became painter to the Doge, Giovanni II Cornaro , and oversaw the hanging of pictures at his palace, as well as painting many works himself, of which only two portraits have been identified. He painted his first fresco in 1716, on
196-534: Is different from Wikidata All article disambiguation pages All disambiguation pages Martin Davies (museum director) Davies attended Rugby School , and thereafter read mathematics and modern languages at King's College, Cambridge . He first joined the staff of the National Gallery, the institution to which he was to devote his career, as an attaché in 1930. After being made Assistant Keeper in 1932 he called for improved research on
224-459: Is often bizarre and fantastical, and the works owe a lot to the example of Salvator Rosa and Giovanni Benedetto Castiglione . The 23 Scherzi were etched over more than ten years and privately circulated, only being commercially published after Tiepolo's death, with numbers and titles added by his son, Giandomenico. Subjects include mysterious Eastern figures, and, in some of the later prints, scenes of necromancy . By 1750, Tiepolo's reputation
252-894: The Myth of Phaethon on the walls, creating the kind of fluid spatial illusion which was to become a recurring theme in his work. In 1722 he was one of twelve artists commissioned to contribute a painting on canvas of one of the apostles as part of a decorative scheme for the nave of San Stae in Venice. The other artists involved included Ricci, Piazetta, and Pellegrini. In 1719, Tiepolo married noblewoman Maria Cecilia Guardi , sister of two contemporary Venetian painters, Francesco and Giovanni Antonio Guardi . Tiepolo and his wife had nine children, of whom four daughters and three sons survived to adulthood. Two of his sons, Giovanni Domenico and Lorenzo , painted with him as his assistants and later achieved some independent recognition, in particular Giovanni Domenico Tiepolo. His children painted figures with
280-1049: The Scuola Grande dei Carmini (1740–1747), in Cannaregio , a ceiling for the Palazzi Archinto and Palazzo Dugnani in Milan (1731), the Colleoni Chapel in Bergamo (1732–1733), a ceiling for the Gesuati ( Santa Maria del Rosario ) in Venice of St. Dominic Instituting the Rosary (1737–1739), Palazzo Clerici, Milan (1740), decorations for Villa Cordellina Molin, a ceiling for the Chiesa degli Scalzi (1743–1744); now destroyed (reconstitution : ), Villa Cordellina Molin, Montecchio Maggiore (1743–1744) and for
308-689: The Second World War , away from the aerial bombardment of London. After the artworks were safely transferred to Manod Quarry near Ffestiniog , North Wales , Davies was able to make his research in total seclusion. The catalogues for the Netherlandish , French , and British schools of painting were published from 1945 to 1946. The much larger Catalogue of the Earlier Italian Schools was published in 1961. Many of these paintings are now covered by published volumes of
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#1732771787680336-642: The Villa Pisani in Stra . In some celebrated frescoes at the Palazzo Labia , he depicted two scenes from the life of Cleopatra: Meeting of Anthony and Cleopatra [1] and Banquet of Cleopatra , as well as, in a central ceiling fresco, the Triumph of Bellerophon over Time . Here he collaborated with Girolamo Mengozzi Colonna . This connection with Colonna, who also designed sets for opera, highlights
364-599: The Kaisersaal salon in collaboration with his sons Giandomenico and Lorenzo and was then invited to deliver a design for the grandiose entrance staircase ( Treppenhaus ) designed by Balthasar Neumann . It is a massive ceiling fresco at 7 287 square feet (677 m ) , and was completed in November 1753. His Allegory of the Planets and Continents depicts Apollo embarking on his daily course; deities around him symbolize
392-619: The ballroom of the Palazzo Labia in Venice (now a television studio), showing the Story of Cleopatra (1745–1750). Tiepolo produced two sets of etchings, the Capricci (c. 1740–1742) and the Scherzi di fantasia (c. 1743–1757). The ten capricci were first published by Anton Maria Zanetti , incorporated into the third edition of a compilation of woodcuts after Parmigianino . They were not published separately until 1785. The subject matter
420-462: The ceiling of a church at Biadene , near Treviso . He probably left Lazzarini's studio in 1717, the year he was received into the Fraglia or guild of painters. In around 1719–20 he painted a scheme of frescoes for the wealthy, and recently ennobled, publisher Giambattista Baglione in the hall of his villa at Massanzago near Padua. Tiepolo depicted the Triumph of Aurora on the ceiling, and
448-657: The increasing tendency towards composition as a staged fiction in Tiepolo's frescoes. The architecture of the Banquet fresco also recalls that of Veronese's Wedding at Cana . In 1757, he painted an altar piece for the Thiene family, representing the apotheosis of Saint Cajetan . It is in the church of hamlet of Rampazzo in the Camisano Vicentino . In 1761, King Charles III of Spain commissioned Tiepolo to create
476-491: The lives of Abraham and his descendants from the Book of Genesis at his archiepiscopal palace (the "Arcivescovado") (completed 1726–1728). Despite their elevated subject matter, they are bright in colour, and light-hearted in mood: Michael Levey describes the paintings at the palace as "a shimmering set of tableaux, full of wit and elegance". Tiepolo used a much cooler palette than previous Venetian painters, in order to create
504-435: The new series of catalogues, but for example, only the 17th century French paintings are covered under the new series, whereas Davies covered all French periods. Davies rose steadily in the ranks at the National Gallery until in 1968 he was appointed Director. The public campaign in 1971 to buy Titian 's late masterpiece The Death of Actaeon was one of the great successes of his directorship. Davies's stated aim as director
532-461: The paintings in the collection, which would eventually come to fruition in the series of catalogues inaugurated by Davies and still being produced by the Gallery today. These set new standards for the catalogues of large collections, and have been widely imitated. His scholarly work was interrupted from 1938 to 1941 by the need to find a safe home for the National Gallery's paintings at the onset of
560-478: The planets; allegorical figures (on the cornice) represent the four continents. He included several portraits in the Europe section of this fresco, including a self-portrait; one of his son Giandomenico; one of the prince-bishop von Greiffenklau; one of the painter Antonio Bossi; and one of the architect, Balthasar Neumann . Tiepolo returned to Venice in 1753. He was now in demand locally, as well as abroad where he
588-433: The prestigious patrician name of Tiepolo without claiming any noble descent. Some of the children acquired noble godparents, and Giambattista was originally named after his godfather, a Venetian nobleman called Giovanni Battista Dorià. He was baptised on 16 April 1696 in the local church, San Pietro di Castello (then still officially the cathedral of Venice). His father died about a year later, leaving his mother to bring up
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#1732771787680616-627: The rising champion of Neoclassicism , Anton Raphael Mengs ; at the instigation of Mengs' supporter, the King's confessor Joaquim de Electa , had Tiepolo's series of canvases for the church of San Pascual at Aranjuez replaced by works by his favourite. Tiepolo died in Madrid on 27 March 1770. He is buried in Madonna dell'Orto in Venice After his death, the rise of a stern Neoclassicism and
644-407: The same term This disambiguation page lists articles about people with the same name. If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Martin_Davies&oldid=1049471253 " Category : Human name disambiguation pages Hidden categories: Short description
672-456: The traditional Old Masters of that period. Successful from the beginning of his career, he has been described by Michael Levey as "the greatest decorative painter of eighteenth-century Europe, as well as its most able craftsman." Born in Venice , he was the youngest of six children of Domenico and Orsetta Tiepolo. His father was a small shipping merchant who belonged to a family that bore
700-638: Was an Italian painter and printmaker from the Republic of Venice who painted in the Rococo style, considered an important member of the 18th-century Venetian school . He was prolific, and worked not only in Italy, but also in Germany and Spain. Giovan Battista Tiepolo, together with Giambattista Pittoni , Canaletto , Giovan Battista Piazzetta , Giuseppe Maria Crespi , and Francesco Guardi are considered
728-639: Was elected President of the Academy of Padua . He went on to complete theatrical frescoes for churches; the Triumph of Faith for the Chiesa della Pietà ; panel frescos for Ca' Rezzonico (which now also houses his ceiling fresco from the Palazzo Barbarigo ); and paintings for patrician villas in the Venetian countryside, such as Villa Valmarana in Vicenza and an elaborate panegyric ceiling for
756-473: Was firmly established throughout Europe, with the help of his friend Francesco Algarotti , an art dealer, critic and collector. That year, at the behest of Prince-Bishop Karl Philipp von Greifenclau zu Vollraths , he traveled to Würzburg where he arrived in November 1750. He remained there for three years during which he executed ceiling paintings in the New Residenz palace (completed 1744). He frescoed
784-785: Was to make the National Gallery the main public purchaser of artistic masterpieces, in which he succeeded, acquiring notable works by Caravaggio ( Salome with the Head of Saint John the Baptist ), Tiepolo ( An Allegory with Venus and Time [1] ) and Henri Rousseau ( Tiger in a Tropical Storm [2] ). Davies was knighted in 1972, the year before his retirement, and died in 1975. Giovanni Battista Tiepolo Giovanni Battista Tiepolo ( / t i ˈ ɛ p ə l oʊ / tee- EP -ə-loh , Italian: [dʒoˈvanni batˈtista ˈtjɛːpolo, ˈtjeː-] ; 5 March 1696 – 27 March 1770), also known as Giambattista (or Gianbattista ) Tiepolo ,
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