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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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Susanna at he Bath
mk86
c.1565
Oil on canvas
147x194cm
Vienna,Kunsthistorisches Museum
Painting ID:: 33504
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Susanna_at_he_Bath
mk86
c.1565
Oil on canvas
147x194cm
Vienna,Kunsthistorisches Museum
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The Birth of St John the Baptist
mk91
1550s
Oil on canvas
181x266
Painting ID:: 34265
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The_Birth_of_St_John_the_Baptist
mk91
1550s
Oil on canvas
181x266
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The communion
mk137
1592-1594 oil on linen 365x568cm San Giorgio Maggiore, Venice
Painting ID:: 38515
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The_communion
mk137
1592-1594 oil on linen 365x568cm San Giorgio Maggiore, Venice
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Lorenzo Soranzo
mk150
1553
Canvas
114x95.5cm
Painting ID:: 39596
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Lorenzo_Soranzo
mk150
1553
Canvas
114x95.5cm
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Susanna and the elders
mk150
c.1555/6
Canvas
146.6x193.6cm
Painting ID:: 39598
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Susanna_and_the_elders
mk150
c.1555/6
Canvas
146.6x193.6cm
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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
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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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