|(übersetzt):||On the one hand the work is about the frescos from Giovanni Battista Tiepolo into the representation rooms of the Palacio Real from Madrid and on the other hand it is reported of the life and creating of his youngest son Lorenzo Tiepolo. The focal point in the large room decorations of the father is the iconografic analysis. The meaning of the Eneas topic is particularly emphasized thereby. The thesis is set up, that order work for St. Petersburg was not carried out. Instead of which the bozzetto was used for the Spanish monarch Charles III. Sometimes in the course of the elaboration of the scenes, meaning postponements arose at times in the transition of the modello to the finished fresco. The attribution of the ceiling with naturalistic bird representations in the Palacio Real at Lorenzo Tiepolo is supported by documents and pictures. His unique type-portraits are adjusted with different written sources and the attempt is undertaken to reconstruct the series dispersed today. Their model character for Goya is described. Some new details over the portraits of the infants are presented. To the personality of the venetian and his life in the Spanish capital, interesting facts are cited. Finally it is found out, that the preference of A. R. Mengs in comparison with the Tiepolo at the Spanish Court, it’s because of certain highly influential men. The modernity Lorenzo Tiepolo’s dealing with the allegory, the chinoiserie and the genre-picture is placed here for the first time under proof.
|Schlagworte:||Tiepolo ; Spanien , 18th century, painting, fresco, Giovanni Battista Tiepolo, Gian Domenico Tiepolo, Lorenzo Tiepolo, Madrid, Royal Palace, Enlightment, Eneas