The Artist Satirist and the Classical Epos: Giandomenico Tiepolo and the Trojan Horse This study reconsiders a remarkable but overlooked work by Giandomenico Tiepolo–the so-called Building of the Trojan Horse in the collections of the Wadsworth Atheneum Museum of Art at Hartford. Starting from a fresh look to the content, the author identifies a slightly different iconography, as well as the presence of an enigmatic self-portrait of the painter seen from the back. The possible precedents in the tradition of the artists' self-portraits in Venice are investigated, and an interpretation is offered in connection with the peculiar satirical themes of Gian Domenico's art.

L'artista satirico nell'epos: Giandomenico Tiepolo e il cavallo di Troia

Rodolfo Maffeis
2020

Abstract

The Artist Satirist and the Classical Epos: Giandomenico Tiepolo and the Trojan Horse This study reconsiders a remarkable but overlooked work by Giandomenico Tiepolo–the so-called Building of the Trojan Horse in the collections of the Wadsworth Atheneum Museum of Art at Hartford. Starting from a fresh look to the content, the author identifies a slightly different iconography, as well as the presence of an enigmatic self-portrait of the painter seen from the back. The possible precedents in the tradition of the artists' self-portraits in Venice are investigated, and an interpretation is offered in connection with the peculiar satirical themes of Gian Domenico's art.
Trojan Horse, Virgil, Aeneid, Giandomenico Tiepolo, Venice, Rococo painting, iconography, self-portrait, irony, Enlightenment
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11311/1155237
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