Tintoretto

Jacopo Robusti, called Jacopo Tintoretto ( born September 29, 1518 Venice, † May 31, 1594 ibid ), was an Italian painter. His name Il Tintoretto ("the Färberlein " ) is derived from a craft of his father. His father's name was, as has been recently discovered, probably Giovan Batista Comin and received because of the heroic defense of a city gate of Padua in 1509 the honorary names Robusti.

Jacopo Tintoretto was in turn the father of the painter Marietta Robusti, called " La Tintoretta ", and the painter Domenico Tintoretto Tintoretto and Marco. After Marietta, Domenico and Marco Robusti had died, her sister Ottavia inherited as the main heir the workshop and on the instructions of her brothers married the German -born painter Sebastian Casser, who had been trained in the Tintorettowerkstatt.

Life

Works

From the works of his early period in which he was close to Titian, the fall and death of Abel are ( in the Academy at Venice), Venus, Mars and Cupid ( in the Palazzo Pitti in Florence ), the altarpiece with a depiction of St.. Markus with Sts. Bartholomew and Jerome in the St. Mark's Cathedral, Korcula (Croatia ), the worship of the calf and the Last Judgment ( in Santa Maria dell ' Orto at Venice), the wedding at Cana ( in Santa Maria della Salute ) and the great Crucifixion ( in the Scuola Grande di San Rocco ) emphasized. The latter building has to have 56 paintings of Tintoretto's hand ( for example, the painting of St. glory. St. Roch ).

His declining Championship witness the pictures in the Doge's Palace, in particular the colossal paradise. For two rooms in the Doge's Palace Tintoretto created under the patronage of Guglielmo Gonzaga also the Gonzaga cycle. He is the one of four paintings of the four Marquis of Mantua, which were completed in 1579. To complete the series by four more pictures of the two dukes Federico II Gonzaga and Francesco III. Gonzaga, which were completed in May in 1580.

Numerous other of his paintings are in galleries in Paris, London, Dresden, Berlin, Vienna, Madrid, Florence, Venice, Bucharest and other cities. Examples are:

• The Siege of Asola (L' assedio di Asola ). From 1544 to 1545. National Museum Poses (Collection Barbara Piasecka Johnson)
• Portrait of a man in gold ornate armor. In 1553. Kunsthistorisches Museum in Vienna
• Susanna and the Elders. 1555 / 1556. Kunsthistorisches Museum in Vienna
• Raising of Lazarus. 1576th Lübeck St. Catherine's Church ( Church Museum of Lübeck )
• Paolo Tiepolo, 1523-1585, to 1578th Regional Finance Cologne, Cologne.
• The Holy Michael fights the dragon. 1592nd Gemäldegalerie Alte Meister, Dresden
• Crucifixion. 1585th parish Stift Haug Wurzburg
• Salvage the corpse of St. Mark. 1562nd Accademia, Venice
• Portrait of the sculptor Jacopo Sansovino. From 1560 to 1570. Uffizi Gallery, Florence
• The Annunciation, oil on canvas, 124x100 cm, Muzeul Naţional de Arta al României ( National Art Museum of Romania ), Bucharest

Style

Tintoretto was initially pupil of Titian, but soon hit its own direction, which by its motto, is clearly labeled " From Michelangelo the drawing by Titian the color ," as, in fact, a number of his works shows the pursuit, the size of the Florentine style to connect with the advantages of his native school.

Tintoretto was the choir leader of the second generation of the Venetian school of painting, which indulged in an external bravura painting, in palatial -like and massive composition and challenging perspectives. Tintoretto supercharged his compositions often not associated to the point, spread theatrical figures and gladly turned to bright lighting contrasts.

His color is effective, warm and deep, if he had the time to work more carefully, but raw and coarse, where he wanted to work through quick improvisations and to marvel exciting tackling large areas. Many of his paintings, especially the portraits, in which he came closest to Titian, have lost much of their original colors by darkening.

Reception

The Tintoretto biographer Henry Thode compares the painter and his style even with the composer Richard Wagner: Tintoretto reach in his paintings an equally deep emotional understanding of the whole as Wagner in his operas.

Jean -Paul Sartre analyzed the work of The Miracle of St.. Markus from 1548, detailed in his article Saint Marc et son double. Le Séquestre de Venise.

2012 showed the Quirinal in Rome (a former royal stables at the Quirinale Palace, now an art and exhibition hall ) an approximately 50 works by Tintoretto comprehensive exhibition. She was the first retrospective since that of 1937 in the Venetian Ca ' Pesaro.