A Stag Lying Down (on a base): The Head of a Crocodile 1770 - 1804

Editor: This intriguing sepia drawing, "A Stag Lying Down (on a base): The Head of a Crocodile," by Giovanni Domenico Tiepolo, dates to the late 18th century. It’s a watercolour work on paper. I find the juxtaposition of the serene stag with the menacing crocodile head quite strange and thought-provoking. What do you see in this piece, particularly from a historical perspective? Curator: The strangeness you mention is key. Tiepolo was working within a world of rapidly shifting power structures. The Venetian Republic, while still grand, was fading. These "capricci," or fantastical sketches, often reflect anxieties around fading aristocratic power. The stag, a symbol of nobility, is literally brought down and placed on a plinth like a museum object; beneath it is this threatening crocodile. It feels almost like Tiepolo is commenting on the vulnerability of established hierarchies. Do you think museums or aristocratic families of the period might purchase an artwork depicting this scene? Editor: Possibly. Aristocratic families would appreciate their portraits painted, of course. The strangeness and fantasy elements of this drawing feel more like commentary. So are you suggesting that, potentially, he might create this commentary on his own for his own sake, with less interest from institutions and powers of the time? Curator: Exactly! Its likely place in a collection could then be quite subversive – it serves to question authority. Think about how visual art contributed to public discourse at the time – where it was displayed and how people interacted with it, who bought it or commissioned it. The choice to use watercolour as well makes it seem spontaneous, of the moment. What are your thoughts on this aspect? Editor: It definitely adds to the impression that it’s a sketch, like a passing thought on paper, rather than some large propaganda project. Considering those fleeting expressions of anxieties gives this piece a contemporary feel. Thank you! Curator: My pleasure. It’s fascinating to consider how personal expression could become entwined with political awareness, even within the traditions of the Baroque.