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skill as her father while displaying "sentimental femininity, a womanly grace that is strained and resolute". It was said that while
Robusti worked in her father's studio, she also worked on altarpieces as an assistant, but her achievements were ascribed to her father. No evidence exists that Robusti received commissions for major religious works such as altarpieces or other church decorations. She was recognized mainly as a portraitist, however,
183:, "Madonna per voi ardo". It has been postulated by one reviewer that the inclusion of the text of this madrigal, whose opening lines are "My Lady, I burn with love for you and you do not believe it", suggests that the painting was created for a specific male viewer. This speculation suggests that it might have been intended for viewing by her husband.
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Although
Robusti's social and economic autonomy was no greater than other artisan women of her time, she had quite a following, changing the ideals of femininity within the arts. After her death, Carlo Ridolfi stated she was one of the most illustrious women of her time, having the same manner of
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Robusti's artistic training consisted of serving an apprenticeship in the collaborative environment of her father's workshop, where she probably contributed to her father's paintings by executing backgrounds and figure blocking, as was the usual distribution of labor in painting workshops of the
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describes
Robusti's close relationship with her father at great length. Not only did she learn at his knee, as a child she would dress as a boy so that she could go everywhere with Tintoretto. She was followed by seven siblings, three half-brothers and four half-sisters born to her stepmother,
384:
Wasmer, Marc-Joachim. Die KĂĽnstlertochter
Marietta Robusti, genannt Tintoretta, in: "Unser Kopf ist rund, damit das Denken die Richtung wechseln kann." Festschrift fĂĽr Franz Zelger, ed. Matthias Wohlgemut, in collaboration with Marc Fehlmann, Zurich 2001,
167:
and were not welcome in the public world of art production and sale, Robusti and her female contemporaries only gained access to participate in the professional art world through their male relatives who were recognized as artists.
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In 1578, Tintoretto arranged for
Marietta to marry a Venetian jeweler and silversmith, Mario Augusta, to ensure that she would remain near him. She died during childbirth and was buried in Santa Maria del’Orto in Venice in 1590.
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both expressed interest in hosting her as a court painter so knowledge of her skills had to be known to contemporaries. Apparently, her father refused their invitations on her behalf because he couldn't bear to part with her.
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in 1861. The trope of women artists being transformed from creators to subjects for male counterparts made her a motif for male creativity, displaying a dying muse of "quietly suffering femininity".
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After her death, a noticeable decline in the work produced by
Tintoretto was ascribed to his grief over the loss of his daughter, rather than the likelihood that he lost his most skillful assistant.
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time. She also served as the subject in many of her father's paintings. It is reported that the grieving
Tintorentto created his last portrait of Marietta, postmortem, on her deathbed.
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Given the suppression of recognition of her work, until modern times the only painting that had been attributed conclusively to
Marietta Robusti was her
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or dyer). Because of this, she is known variously as
Marietta Robusti, Marietta Tintoretto, or "la Tintoretta". The name of her mother is not known.
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indicates that she was born in 1560. She probably was born in 1560 since her death during childbirth is recorded as at the age of thirty in 1590.
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that was published in 1642 about her father. These two sources disagree on the year of her birth: according to
Borghini, she was born in 1555, but
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Katherine A. McIver, "Lavinia Fontana's 'Self-Portrait Making Music'," Woman's Art Journal 19, no. 1 (Spring-Summer 1998): 3-8.
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Tintoretto's second wife. Two of her half-brothers became painters as well, but neither achieved her level of skills.
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381:. Translated by Catherine Enggass and Robert Enggass. University Park, PA: Pennsylvania State University Press, 1984.
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by Raffaelo Borghini in 1584. The only known primary source for details of Marietta Robusti's life, however, is in
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Grove Art Online, s.v. “Marietta Robusti.” Available from Grove Art, George Mason University Lib.
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Following Marietta Robusti's death she became a muse for Romantic painters such as
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Niceley, H. T. "A Door Ajar: The Professional Position of Women Artists,"
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H. T. Niceley, "A Door Ajar: The Professional Position of Women Artists",
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McIver, Katherine A. "Lavinia Fontana's 'Self-Portrait Making Music',"
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The Life of Tintoretto and of his children Domenico and Marietta
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Dictionary of Painters and Engravers: Biographical and Critical
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Since conventions of the time dictated that women remain in
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now attributed to Marietta Robusti rather than her father -
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is of his daughter and skilled assistant, Marietta Robusti
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all her life. She was the eldest daughter of the painter
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Other attributions now include three more paintings.
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353:. 6th ed. London: Thames & Hudson, 2020, 22-26.
50:(Jacobo Robusti) and sometimes, is referred to as
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367:. London: Longmans, Green and Co., 1952.
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64:Il Riposo della Pitura e della Scultura
869:Saint Mark series (1548 or 1562–1566)
658:Portrait of Queen Christina of Denmark
559:Portrait of Procurator Jacopo Soranzo
224:Tintoretto Painting His Dead Daughter
7:
360:19, no. 1 (Spring-Summer 1998): 3-8.
38:(1560? – 1590) was a highly skilled
888:Saint Mark's Body Brought to Venice
720:Saint Mark's Body Brought to Venice
1014:16th-century Italian women artists
634:Mars and Venus Surprised by Vulcan
498:Christ Washing the Disciples' Feet
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881:Finding of the Body of Saint Mark
712:Finding of the Body of Saint Mark
46:period. She was the daughter of
422:La Renaissance- WebMuseum, Paris
214:Inspiration for Romantic artists
62:Robusti is mentioned briefly in
728:Portrait of Doge Pietro Loredan
16:Italian artist (1560? – 1590)
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805:The Vision of Saint Nicholas
758:Christ at the Sea of Galilee
314:(accessed 10 February 2008).
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918:Marietta Robusti (daughter)
766:The Origin of the Milky Way
666:Saint George and the Dragon
232:Tintoretto and His Daughter
208:Gemäldegalerie Alte Meister
143:Attributions and assessment
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923:Scuola Grande di San Rocco
774:Bacchus, Venus and Ariadne
689:Portrait of Alvise Cornaro
674:The Deliverance of Arsinoe
642:Presentation at the Temple
604:Presentation of the Virgin
589:Joseph and Potiphar's Wife
406:Portrait of Ottavio Strada
196:Portrait of Ottavio Strada
152:Portrait of Ottavio Strada
989:Italian portrait painters
913:Domenico Tintoretto (son)
574:Assumption of the Virgin
192:Kunsthistorisches Museum
490:Esther Before Ahasuerus
351:Women, Art, and Society
286:Women, Art, and Society
129:King Philip II of Spain
994:Italian women painters
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650:Susanna and the Elders
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929:Judith and Holofernes
896:Fasti of the Gonzagas
408:at Web Gallery of Art
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23:Self-portrait with a
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979:Painters from Venice
874:Miracle of the Slave
413:Marietta Robusti in
399:at Scholars Resource
942:formerly attributed
358:Woman's Art Journal
349:Chadwick, Whitney.
204:Portrait of Two Men
474:The Siege of Asola
268:Life of Tintoretto
228:Eleuterio Pagliano
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125:Emperor Maximilian
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110:Portrait of a Lady
68:Life of Tintoretto
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898:(1578–1580)
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852:Last Supper
845: 1588
820:Il Paradiso
813: 1582
798: 1580
777:(1576–1577)
769:(1575–1580)
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736: 1567
723:(1562–1566)
715:(1562–1566)
704:Crucifixion
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493:(1546–1547)
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477:(1544–1545)
401:(thumbnail)
200:Rijksmuseum
159:, Amsterdam
157:Rijksmuseum
44:Renaissance
1019:Tintoretto
958:Categories
836:Visitation
513:Visitation
459:Tintoretto
365:Tintoretto
344:References
297:Tintoretto
255:Tintoretto
190:(c. 1585;
175:(c. 1580;
52:Tintoretta
48:Tintoretto
782:The Muses
515:(Bologna)
466:Paintings
226:in 1846.
58:Biography
838:(Venice)
385:463–494.
295:Newton,
230:painted
40:Venetian
906:Related
761:(1570s)
99:Ridolfi
95:tintore
831:(1588)
823:(1588)
785:(1578)
738:–1570)
707:(1565)
699:–1565)
629:–1560)
614:–1556)
83:Venice
31:(1580)
29:Uffizi
25:spinet
1004:Muses
743:Danaë
299:, 66.
238:Notes
127:and
940:) (
70:by
960::
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609:c.
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304:^
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