Interesting facts about tintoretto
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Tintoretto
Italian painter (1518–1594)
For other uses, see Tintoretto (disambiguation).
Jacopo Robusti[a] (late September or early October 1518[2] – 31 May 1594), best known as Tintoretto (TIN-tə-RET-oh; Italian:[tintoˈretto], Venetian:[tiŋtoˈɾeto]), was an Italian Renaissance painter of the Venetian school. His contemporaries both admired and criticized the speed with which he painted, and the unprecedented boldness of his brushwork. For his phenomenal energy in painting he was termed il Furioso (Italian for 'the Furious'). His work is characterised by his muscular figures, dramatic gestures and bold use of perspective, in the Mannerist style.[3]
Life
The years of apprenticeship
Tintoretto was born in Venice in 1518. His father, Battista, was a dyer – tintore in Italian and tintor in Venetian; hence the son got the nickname of Tintoretto, "little dyer", or "dyer's boy".[4] Tintoretto is known to have had at least one sibling, a brother named Domenico, although an unr
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RIDOLFI, Carlo
Venezia, Guglielmo Oddoni, 1642
In 4to, pp. (16), 93, (3), last blank; a xilography with a printer’s mark with a Tintoretto portrait; contemporary boards.Full edges copy. A possession note manuscript, “Est Joannis De Martinis”. Dedication to prince Francesco Erizzoand to Venetian Senate.
First edition DEATH, HISTORY, AND THE MARVELLOUS LIVES OF TINTORETTO MARIA H. LOH In 1674 Luigi Scaramuccia identified Titian, Tintoretto and Veronese as the ‘glorious triumvirate of Venice’ in his animated dialogue on painting, entitled Le finezze de’ pennelli.1 By then, this trio of greatness had become a critical readymade in early modern texts about art, and Tintoretto had attained a secure position within the exclusive pantheon of Great and Old Masters. In his own lifetime, however, he was perceived as a somewhat unformed and problematic figure, a liminal figure standing between a glorious past and an unknown future.2 Even though Michelangelo was the only living artist to be accorded his own biography in the first edition of Vasari’s Le vite de’ più eccellenti pittori, scultori et architettori (1550), it is nevertheless surprising not to find a single reference to Tintoretto in any of the lives described; his presence in the second edition (1568) is relegated to a guest appearance at the end of Battista Franco’s biography. In Il diao
The first biography of the venetian painter, who trained on Michelangelo and Titian example, keeping by the first the drawing direction, and by the second the colour’s one, a sort of law that he was said to had written on a wall in his office.Carlo Ridolfi was biographer, some year later, also of Paolo Veronese, and an authority as an artistic historian on Veneto; he follows in a very particular way the rise of Tintoretto until San Rocco and beyond, weaving his personal and artistic affairs to a wider vision on Veneto’s artistic contemporary scene. With a specific attention to engravings of reproduction used by Raffaello and later as a disclosure mean for style and images, a mean knowingly employed by the painter, the author also speaks (p. 33 and 39) of printed •
DEATH, HISTORY, AND THE MARVELLOUS LIVES OF TINTORETTO
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