Tarquin and Lucretia - Giovanni Domenico Tiepolo
Archival giclée
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Description
A dramatic etching by Giovanni Domenico Tiepolo, depicting the classical story of Tarquin and Lucretia with fine line work and theatrical composition.
This etching depicts the classical narrative of Tarquin and Lucretia, a subject frequently explored by artists of the eighteenth century. Giovanni Domenico Tiepolo, the son of the celebrated Venetian painter Giovanni Battista Tiepolo, demonstrates his technical proficiency in this work. The composition is contained within an oval frame, a common device in the period to focus the viewer on the dramatic interaction between the two figures.
Tarquin is shown looming over Lucretia, his posture aggressive and his expression dark. Lucretia, positioned in the foreground, appears in a state of distress, her gaze directed upwards. The artist employs a range of hatching techniques to create depth and shadow, particularly in the drapery and the darker areas of the background. The contrast between the light on Lucretia and the shadows surrounding Tarquin heightens the tension of the scene.
The inscription at the bottom of the plate clarifies the roles of the two artists involved in the production of this image. It notes that the original invention and painting were by Giovanni Battista Tiepolo, while the drawing and etching were executed by his son, Domenico. This collaboration reflects the common practice in the Tiepolo workshop, where family members worked together to disseminate their compositions through printmaking. The work captures the theatricality associated with Venetian Rococo art, prioritising movement and emotional intensity. The fine lines of the etching allow for a delicate rendering of the figures, while the overall composition maintains a sense of balance despite the violent nature of the subject matter. This print offers an insight into the artistic production of the Tiepolo family and their approach to classical themes.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Tarquin and Lucretia - Giovanni Domenico Tiepolo
Artist Biography
Giovanni Domenico Tiepolo
He was born in Venice in 1727, the eldest son of Giovanni Battista Tiepolo, the greatest ceiling painter in Europe. By thirteen he was his father's chief assistant; by twenty he was producing independent commissions. He assisted at Wurzburg (1751 to 1753), at the Villa Valmarana in Vicenza (1757), and at the Royal Palace in Madrid (1762 to 1770).
His father's death in Madrid in 1770 freed him to develop his own direction. He returned to Venice and turned increasingly away from the luminous Baroque grandeur of his father's work toward genre scenes, religious subjects treated with narrative intimacy, and the Punchinello drawings that became his finest achievement. In retirement at the family villa at Zianigo, he painted frescoes now in the Correr Museum and produced nearly two hundred etchings. He died in Venice in 1804, at seventy-six.
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