Venetian painter with a link to the High Renaissance and Mannerism

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Text of Venetian painter with a link to the High Renaissance and Mannerism

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  • Venetian painter with a link to the High Renaissance and Mannerism.
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  • Tintoretto Self Portrait, (c.1859) Lourve, Paris.
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  • Tintorettos House in Venice
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  • Portrait of the Artist as a Younger Man (c.1546-8)
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  • Tintoretto worked on mythological paintings and biblical apocryphal subjects; - these tended to be erotic and full of saturated colour.
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  • Tintoretto, Susanna Attending Her Bath (1560)
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  • compare with this
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  • Edouard Manet Le dejeuner sur l herbe Luncheon on the Grass, Exhibited at the Salon des Refuses (1863)
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  • Giorgione The Tempest (c.1508) Galleria dell Accademia Venice, Italy
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  • Tintoretto, Susanna Attending Her Bath, (1560)
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  • Tintoretto, Susanna and the Elders, (1555-6)
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  • Tinoretto, Leda and the Swan (c.1555)
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  • Tintoretto, Women Making Music
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  • Tintoretto, The Origin of the Milky Way, (1570) National Gallery, London.
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  • Titians Bacchus and Ariadne (1520- 1522)
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  • Who did These Paintings?
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  • Eduoard Manet, Olympia, (1863), Musee dOrsay, France
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  • Tintoretto Vulcan Surprises Venus and Mars (c.1551)
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  • Tintoretto Temptation of Adam (c.1550/3)
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  • Tintoretto Leda and the Swan (c.1555)
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  • (the lost work by Leonardo) Leda & the Swan copy by Cesare Sesto after a lost original by Leonardo (1512-1520) Oil on Canvas, Wilton House, England
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  • Tintoretto `St. Roch in Glory, (1564) Scuola di San Rocco, Venice
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  • Tintoretto, St George and the Dragon, (c.1555) Oil on Canvas, National Gallery, London
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  • Tintoretto, The Deliverance of Arsino (c.1560)
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  • Tintoretto The Presentation of the Virgin (c.1552),Madonna del Orto, Venice
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  • Tintoretto (Jacopo Robusti) (1518-94). Venetian painter. His nickname derives from his father's profession of dyer (tintore). Although he was prolific and with Veronese the most successful Venetian painter in the generation after Titian 's death, little is known of his life. He is said to have trained very briefly with Titian, but the style of his immature works suggests that he may also have studied with Schiavone, Paris Bordone, or Bonifazio. Almost all his life was spent in Venice and most of his work is still in the churches or other buildings for which it was painted. He appears to have been unpopular because he was unscrupulous in procuring commissions and ready to undercut his competitors. By 1539 he was sufficiently mature to be established independently, painting pictures composed in a traditional Venetian manner with the figures arranged parallel to the picture plane and unlinked by any strong movement or variation in the arrangement. His early masterpiece is the Miracle of the Slave (Accademia, Venice, 1548), in which many of the qualities of his maturity, particularly his love of foreshortening, begin to be distinguishable. To help him with the complex poses he favoured, Tintoretto used to make small wax models which he arranged on a stage and experimented on with spotlights for effects of light and shade and composition. This method of composing explains the frequent repetition in his works of the same figures seen from different angles. He was a formidable draughtsman and, according to Ridolfi, he had inscribed on his studio wall the motto `The drawing of Michelangelo and the colour of Titian'. However, he was very different in spirit from either of his avowed models -- more emotive, using vivid exaggerations of light and movement. His drawings, unlike Michelangelo's detailed life studies, are brilliant, rapid notations, bristling with energy, and his colour is more sombre and mystical than Titian's. Tintoretto's greatest works are the vast series of paintings he did for the Scuola di San Rocco from 1565 to 1587scenes from the life of Christ in the upper hall and scenes from the life of the Virgin in the lower hall. The complicated system, starting in the upper hall, was probably not conceived by Tintoretto himself, but he interpreted it with a vividness and economy of colour and detail which gives a miraculous cohesion to the whole scheme. Its personal conception of the sacred story overwhelmed Ruskin, who devoted eloquent pages to it, and Henry James wrote of the stupendous Crucifixion: `Surely no single picture in the world contains more of human life: there is everything in it, including the most exquisite beauty.' The unorthodox rough brushwork incurred the censure of Vasari, but later generations recognized it as a means of heightening the drama and tension. As well as religious works, Tintoretto painted mythological scenes and he was also a fine portraitist, particularly of old men (a self- portrait in old age is in the Louvre). Some of the weaker portraits that go under his name may be the product of his large workshop. His son Domenico (c. 1560-1635) became his foreman and is said to have painted many portraits, although none can be attributed to him with certainty. Another son, Marco (1561-1637), and a daughter, Marietta (1556-90), were among his other assistants. The later paintings can thus be divided into those which are largely studio productions on the one hand and the visionary inspirations from Tintoretto's own hand on the other. A prime example of the latter is The Last Supper (S. Giorgio Maggiore, Venice, 1592-94), the culmination of a lifetime's development of this subject, from the traditional frontal representation to this startling diagonally viewed composition. Tintoretto had great influence on Venetian painting, but the artist who most fruitfully absorbed the visionary energy and intensity of his work was El Greco.
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  • Tintoretto, Miracle of the Slave, (1548)
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  • Raphaels Deliverance of St Peter form Prison 1514, Stanza di Eliodoro
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  • `Fire in the Borgo (1511-14) also by Raphael
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  • Tintoretto has allusions and similarities with Mannerism as seen in the following works
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  • Pontormo Deposition (1525-28)
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  • Tintoretto, Tarquin and Lucretia (1578-80)
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  • Bronzino Allegory (c. 1545) National Gallery, London
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  • (After Michelangelo), Cartoon for the Battle of Cascina (c.1505) by Michelangelo's Pupil Aristotele da Sangallo (the original drawing destroyed).
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  • ( Tintoretto, Drawing study for figures)
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  • Michelangelos preparatory drawing for the Battle of Cascina
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  • Tintoretto preparatory sketch for Venus surprised by Vulcan (c.1551)
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  • Tintoretto Vulcan Surprises Venus and Mars (c.1551)
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  • The legend of St Mark In 828, relics believed to be the body of St. Mark were stolen from Alexandria by two Venetian merchants and were taken to Venice, where the Byzantine Theodore of Amasea had previously been the patron saint. A basilica was built there to house the relics. There is a mosaic on this Venetian basilica showing how the sailors covered the body relics with a layer of pork. Since Muslims are not allowed to touch pork, this action was done to prevent Muslim intervention in the relics removal.
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  • Tintoretto painted the series of works depicting the Legend of St Mark for the Scoula Grande di San Marco, of whom his future father in law Marco Episcopi was a significant player and guardian grande of the school. Tintoretto painted Four Works for this. The Miracle of the Slave (1548) The Removal of the Body of St Mark (1562-66) Finding of the Body of Saint Mark (1562-66) St Mark Rescuing a Saracen form Shipwreck (1562-1566)
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  • Tintoretto Miracle of the Slave (1548)
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  • Tintoretto The Removal of the Body of St Mark (1562-66) Gallerie dell Academia, Venice
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  • Tintoretto The Removal of the Body of St Mark (1562-66) Brera, Milan
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  • Tintoretto Finding of the body of St Mark (1562-66)
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  • Tintoretto St Mark rescuing a Saracen from Shipwreck (1562-1566)
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  • Compare this to Michelangelos Last Judgement (1534- 1541) remember Tintorettos motto, The drawing of Michelangelo and the and colour of Titian.
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  • Michelangelo, The Damned, from the Last Judgement (1534-1541) Sis