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Tintoretto
Italian Mannerist Painter, ca.1518-1594
His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.
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Christ in Maria and Marta
m k186
around 1580
Munchen, old Pinakothek
Painting ID:: 45460
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Christ_in_Maria_and_Marta
m k186
around 1580
Munchen, old Pinakothek
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The funf senses with landscape
mk186
around 150 Venice, Gallerie Dell' Accademia
Painting ID:: 45595
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The_funf_senses_with_landscape
mk186
around 150 Venice, Gallerie Dell' Accademia
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The communion
mk186
1592-94 Venice church San Giorgio Maggiore
Painting ID:: 45621
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The_communion
mk186
1592-94 Venice church San Giorgio Maggiore
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Entombment
1592-94
Oil on canvas,
288 x 166 cm
Painting ID:: 51003
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Entombment
1592-94
Oil on canvas,
288 x 166 cm
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Portrait of Giovanni Paolo Cornaro
1561
Oil on canvas,
102 x 81,2 cm
Painting ID:: 51083
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Portrait_of_Giovanni_Paolo_Cornaro
1561
Oil on canvas,
102 x 81,2 cm
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Tintoretto
Italian Mannerist Painter, ca.1518-1594
His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.
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ARTWORKS INDEX
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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