Lmst

Giambattista Tiepolo
An Allegory with Venus and Time
1754-58
Oil on canvas, 292 x 190 cm
National Gallery, London

One of my favourite pictures from London's National Gallery. I confess I often hold this picture in my mind's eye as a form of escapism -- an escape from strip malls, bloated SUVs, megachurches with fundamentalist PowerPoints punctuated by bad rock and extempore prayer, cargo pants,
presidential make up, the Hobby Lobby...

#Tiepolo #GiambattistaTiepolo #NtationalGallery #VenetianArt #Painting #LateBaroque #Rococo #Art #Allegory #Venus #Escapism

The image depicts a late baroque painting with an oval frame, featuringVenus seated on a cloud, draped in a white and pink cloth. She has long, flowing hair and is surrounded by various mythological figures. To her left, a winged male figure , perhps representing Time, holds a baby, while a cherub with wings and a bow is positioned below them. In the background, two white doves fly, and other figures, including cherubs, are present, some holding flowers. The scene is set against a soft, pastel-colored sky with clouds, creating a heavenly atmosphere.

Provided by @altbot, edited by @jemmesedi

Giambattista Tiepolo
Neptune Offering Gifts to Venice
1740s
Oil on canvas, 135 x 275 cm
Palazzo Ducale, Venice

This image has remained in my mind's eye for years. I was going to write that it was the visual equivalent of an earworm, but that wouldn't be quite right, as that term suggests something annoying of which one would be glad to be rid.

#Tiepolo #Venice #Painting #LateBaroque #Art

The image depicts an 18th century painting featuring two central figures. On the left, the muscular, bearded figure of Neptune with a trident on his back is emptying a cornucopia like shell overflowing with coins. He is shirtless, with a stern expression, and his body is partially turned towards a female figure on the right who personifies Venice. Adorned with a crown and a luxurious ermine robe with an orange lining, Venice is pointing at Neptune, indicating a moment of interaction. She is seated on a richly draped fabric adding to the regal atmosphere. The background is a deep blue, enhancing the dramatic effect of the scene. The painting is rich in detail, with a focus on the textures of the clothing and the coins, and the interplay of light and shadow adds depth to the composition.

The Brain DJ was humming something in the dead of the night, but I can't remember what it was. So here's something else –

Padre Antonio Soler (1729-1783), "Fandango in D Minor, R. 146" (undated)

Performed by Scott Ross in Paris, 1988.

From the liner notes: "… the 450 bars of this piece are built on an ostinato in A major and D minor".
(ostinato = a musical phrase repeated over and over, like in "Bolero")

https://www.youtube.com/watch?v=ojMz51tYAdk

#Music #LateBaroque #PadreAntonioSoler #Harpsichord

Of particular interest to me is music of the late Baroque, when composers started to think more in terms of "galant": simple, more melodic, but still retaining some of the polyphony of the complex late Baroque compositions.

By chance, I discovered and enjoyed this piece two nights ago –

Johann Adolph Hasse (c. 1699~1783), Sinfonia Op.5 No.6 in G minor, performed by Camerata Barok Istanbul in 2019

#SymphonicMonday #LateBaroque JAHasse #JohannAdolphHasse

https://www.youtube.com/watch?v=dBzSnZ9YBgA

Last night was spent exploring late Baroque music, and both the Brain DJ and I thoroughly enjoyed this piece –

Niccolò Jommelli (1714~1774), "Periodical Overture E-flat major": Allegro di molto – Chaconne, op. 3/2

Performed by Concerto Köln, Pablo Heras-Casado conducting, 2013 (released 2014)

#Music #ClassicalMusic #LateBaroque #NiccoloJommelli #Jommelli

https://www.youtube.com/watch?v=ngXtQP0O7zU

#LateBaroque

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