Lot 1099 Dα

On May 7, 1737, Tiepolo signed a contract with the Dominicans of the Cloister of St. Maria del Rosario in which he pledged to decorate the ceiling of the newly erected church “Gesuati” with frescoes. On October 7, 1739 he was paid for his endeavours. The main work of this ensemble, to which further frescoes as well as stuccowork and sculptures belonged, is the “Institution of the Rosary.” Three studies by the hand of the master have been passed down. One was in the collection of the Berlin State Museums and was destroyed during the Second World War. The second belonged to the collector Leonardi in Milan. The third is the present “modeletto,” which of the three turns out to be the last stage before the execution of the ceiling painting. On the basis of these designs it is possible to observe the development to final design. While in the Berlin study Palladian columned architecture was behind St. Dominicus at right, in the Milan study it is moved to the left, whereby the main figure looses importance. Tiepolo solves this problem in the present study by adopting a balustrade which again anchors Dominicus and at the same time lifts him above the figural ground below. On the fresco itself he made a few small changes, such as on the Madonna, the angels and the head posture of the saint.
The picture shows Domincus handing the rosary over to believers. On the opposite side is a further group of believers, among whom the Doge Alvise Pisani, in a golden brocade coat, and the patriarch Correr, in an embroidered pluvial. At upper left the Madonna appears, surround by angels cherubs. At the lower border armed soldiers watch over this region, so that avarice, lust, heresy, arrogance and the devil tumble from above.
The Gesuarti Church marked an important stage in Tiepolo's artistic development. His grandiose style with the transparency of his colors and the composition dynamic triumphed in Venice and make him undisputed leader of Venetian decorative painting. Characteristic thereby is the apotheosis-like character with which Tiepolo glorifies saints and kings, rich patricians and bishops before a heaven opening to endlessness.