Giovanni battista crosato biography

Giovanni Battista Crosato (1686 – July 15, 1758) was an Italian painter of quadratura, active in the 18th century in Piedmont.
Biography.
Giovanni Battista Crosato (1697 - 1756) was active/lived in Italy.

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Giambattista Crosato

Giambattista Crosato (auch: Giovanni Battista Crosato; * 1686 in Venedig^[1] oder 1697 in Treviso;^[2] † 15. Juli1758 in Venedig)^[2]^[1] war ein italienischer Maler und Bühnenbildner des Rokoko, der vor allem für seine Freskenkunst bekannt ist. Er wirkte vor allem in Venedig, im Veneto und in Turin.

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Giambattista Crosato wurde als Sohn von Giacomo Crosato geboren, laut manchen Autoren 1686 in Venedig,^[1] nach anderen Quellen 1697 in Treviso.^[2]^[3]

Über seine Ausbildung und frühen Jahre ist wenig bekannt. Crosato war einer der erfolgreichsten Vertreter des venezianischen Rokoko, in seiner Malerei finden sich Einflüsse von Amigoni, Sebastiano Ricci und später auch (in begrenztem Maße) von Tiepolo. Aus stilistischen Gründen wurde ein früher Aufenthalt in Bologna vermutet, wo er mit Werken von Giuseppe Maria Crespi und Domenico Maria Canuti in Kontakt kommen konnte.^[1] Daneben scheint er auch Anregungen aus der französischen Malerei a

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Giovanni Battista Crosato

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Giovanni Battista Crosato

4 artworks

Italian

Born 1697 - Died 1756

Born in Treviso

Died in Venice

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Biography

Italian painter and stage designer. His earliest known work, the Flagellation of Christ (c. 1706; Venice, Museo Diocesano S Apollinia), for the Scuola del Cristo of S Marcuola, is a dark, shadowy painting that reveals the strong influence of tenebrist trends of the 17th century. Crosato, however, belonged to the generation of Venetian painters such as Jacopo Amigoni,Sebastiano Ricci and Giovanni Antonio Pellegrini, who were developing a lighter, more colourful style. His tonality changed from the darkened shadows of the Flagellation to the light-filled frescoes for Stupinigi, the hunting palace of the Duke of Savoy, near Turin, which constitute his next known work. The most successful of these, the Sacrifice of Iphigenia (begun 1733), on the vault of the antechamber of the queen's apartment, is a highly dramatic work full of bright bold colours accentuated against the blue sky and white clouds. The gold, blue and red tones are effectively placed so as to lead the eye around the room and guide it through the narrative, which is related through the specific gestures or