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"Studi sulla pittura del primo Settecento veneziano." Critica d'arte 1 (1935–36), p.
"Tre note Tiepolesche." Rivista di Venezia 14 (August 1935), pp.
Previously triumphs had always been shown as processions across the picture surface, but Tiepolo rotated each procession ninety degrees, so that it moves from the background into the foreground and threatens to spill out of the picture plane into the real space of the spectator.
9, finds a date of 1720–25 plausible; discusses the subject matter and notes its connection with the history of the Dolfin family; mentions and illustrates an etching by Saint-Non after a drawing by Fragonard of part of this composition. "Novità e precisazioni sul Tiepolo—II." Le arti 4 (April–May 1942), pp. 4, 14, 15 (overall and details), dates the ten paintings about 1726–30 and discusses their history; notes the alteration in size of some of the canvases and deduces the original positions of the works from the stucco frames still in situ; identifies the self-portrait of Tiepolo in this picture.
"Una postilla tiepolesca." Ateneo veneto 135 (July–December 1951), pp.
Anna Pallucchini L'opera completa di Giambattista Tiepolo.
"Tiepolo et Boucher." Celebrazioni tiepolesche: atti del Congresso internazionale di studi sul Tiepolo con un'appendice sulla mostra.