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1078:, whose mother is not known. She became highly regarded as a painter, having been trained as an artist by Tintoretto, as he would later with her half-brothers Domenico and Marco. Marietta was a portrait painter of considerable skill, as well as a musician, vocalist, and instrumentalist. Few of her works are now traceable. As a girl, she used to accompany and assist her father at his work, dressed as a boy. Eventually, Marietta married a jeweller, Mario Augusta. Tradition suggests that as she lay in her final repose at the age of thirty, her heart-stricken father painted her final portrait among the many her father painted of her.
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510:. Realizing that the commission presented him with a singular opportunity to establish himself as a major artist, he took extraordinary care in arranging the composition for maximum effect. The painting represents the legend of a Christian slave or captive who was to be tortured as a punishment for some acts of devotion to the evangelist, but was saved by the miraculous intervention of the latter, who shattered the bone-breaking and blinding implements which were about to be applied. Tintoretto's conception of the narrative is distinguished by a marked theatricality, unusual colour choices, and vigorous execution.
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1071:, Marco, and Zuan Battista) and four daughters (Gierolima, Lucrezia, Ottavia, and Laura) survived to adulthood. She appears to have been a careful housekeeper and able to mollify her husband. Faustina made him wear the robe of a Venetian citizen when outdoors. If it rained, she tried to make him wear an outer garment that he resisted. When he prepared to leave the house, she would wrap money up for him in a handkerchief, expecting a strict accounting upon his return. Tintoretto's customary reply was that he had spent it on alms for the poor or for prisoners.
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606:), one of his major works, for the church; it repeats a subject that had earlier been painted by Titian, but in place of Titian's classically balanced composition is a startling visual drama of figures arranged on a receding staircase. Tintoretto now intended to create a sensation by painting for the Madonna dell'Orto the two tallest canvases ever painted during the Renaissance. He settled down in a house near the church, looking over the
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332:, who angrily dismissed him after only a few days—either out of jealousy of so promising a student (in Ridolfi's account) or because of a personality clash (in Boschini's version). From this time forward the relationship between the two artists remained rancorous, despite Tintoretto's continued admiration for Titian. For his part, Titian actively disparaged Tintoretto, as did his adherents.
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1253:), he presents himself without the trappings of status that were customary in self-portraits that came before. The image's informality, the directness of the subject's gaze, and the bold brushwork visible throughout were innovative—it has been called "the first of many artfully unkempt images of the self that have come down through the centuries." The second self-portrait (
539:(horizontal paintings). These were large-scale paintings intended for the side walls of Venetian chapels. Knowing that the congregation would view them from an angle, Tintoretto composed the paintings with off-centre perspective so the illusion of depth would be effective when seen from a viewpoint near the end of the painting that was closer to the worshippers.
425:. These have both long since perished, as have all his frescoes, early or later. The first work of his to attract some considerable notice was a portrait group of himself and his brother—the latter playing the guitar—with a nocturnal effect; this has also been lost. It was followed by some historical subject, which Titian was candid enough to praise.
417:, four years Tintoretto's junior, was much in his company. Tintoretto helped Schiavone at no charge with wall paintings, and in many subsequent instances, he also worked for nothing, and thus succeeded in obtaining commissions. The two earliest mural paintings of Tintoretto—done, like others, for next to no pay—are said to have been
628:–60) were widely admired, and Tintoretto gained a reputation for his ability to complete the most massive projects on a limited budget. Thereafter, Tintoretto habitually competed against rival painters by producing paintings quickly at a low cost. In about 1564, Tintoretto painted three additional works for Scuola di S. Marco: the
1235:(1560/1565), has been widely admired. According to art historians Robert Echols and Frederick Ilchman, the many portraits from Tintoretto's studio that were executed largely by assistants have hampered appreciation of his autograph portraits which, in sharp contrast to his narrative works, are understated and somber.
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Tintoretto sought no further teaching but studied on his own account with laborious zeal. According to
Ridolfi, he gained some experience by working alongside artisans who decorated furniture with paintings of mythological scenes, and studied anatomy by drawing live models and dissecting cadavers. He
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While being a very agreeable companion, for the sake of his work he lived in a mostly retired fashion; even when not painting he habitually stayed in his working room surrounded by casts. Here he hardly admitted anyone, even intimate friends, and he kept his work methods secret, shared only with his
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Tintoretto's style of painting is characterized by bold brushwork and the use of long strokes to define contours and highlights. His paintings emphasize the energy of human bodies in motion and often exploit extreme foreshortening and perspective effects to heighten the drama. Narrative content is
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frequently assisted his father in the preliminary work for great pictures. He painted a multitude of works, many of them of a very large scale. At best, they would be considered mediocre and, coming from the son of
Tintoretto, are disappointing. In any event, he must be regarded as a considerable
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In 2019, honouring the anniversary of the birth of
Tintoretto, the National Gallery of Art, Washington, in cooperation with the Gallerie dell'Accademia organized a travelling exhibit, the first in the United States. The exhibition features nearly 50 paintings and more than a dozen works on paper
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painted for the Doge's Palace, in size 9.1 by 22.6 metres (29.9 by 74.1 feet), reputed to be the largest painting ever done upon canvas. While the commission for this huge work was yet pending and unassigned
Tintoretto was wont to tell the senators that he had prayed to God that he might be
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305:; hence the son got the nickname of Tintoretto, "little dyer", or "dyer's boy". Tintoretto is known to have had at least one sibling, a brother named Domenico, although an unreliable 17th-century account says his siblings numbered 22. The family was believed to have originated from
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as having "the edginess of a feminist joke" as "the princess has taken matters into her own hands ... George spreads his arms in a gesture of male helplessness, as his lance lies broken on the ground ...It was obviously painted with a sophisticated
Venetian audience in mind."
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allowed him to produce many works while engaged on large projects and to respond to growing demands from clients. This, and his use of assistants, enabled
Tintoretto ultimately to produce a greater number of paintings for the Venetian state than any of his competitors.
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Tintoretto was asked to name his own price, but this he left to the authorities. They tendered a handsome amount; he is said to have abated something from it, an incident perhaps more telling of his lack of greed than earlier cases where he worked for nothing at all.
364:, which he studied in numerous drawings made from all angles. Now and afterward he very frequently worked by night as well as by day. His noble conception of art and his high personal ambition were both evidenced in the inscription which he placed over his studio
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In 1594, he was seized with severe stomach pains, complicated with fever, that prevented him from sleeping and almost from eating for a fortnight. He died on 31 May 1594. He was buried in the church of the
Madonna dell'Orto by the side of his favourite daughter
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foremost among them. All Venice applauded the finished work; Ridolfi wrote that "it seemed to everyone that heavenly beatitude had been disclosed to mortal eyes." Modern art historians have been less enthusiastic, and have generally considered the
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praised the work, calling particular attention to the figure of the slave, but warned
Tintoretto against hasty execution. As a result of the painting's success, Tintoretto received numerous commissions. For the church of San Rocco he painted
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According to historian
Stefania Mason, the discovery and publication in 2004 of a "fanciful account" in a letter of 1678 to a Spanish art collector from his agent in Venice is responsible for a misconception that Jacopo's surname was
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that
Tintoretto was in many of his pictures equal to Titian, in others inferior to Tintoretto. This was the general opinion of the Venetians, who said that he had three pencils—one of gold, the second of silver and the third of
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Tintoretto rested for a while, and he never undertook any other work of importance, although there is no reason to suppose that his energies were exhausted if he had lived a little longer. In 1592, he became a member of the
472:, both noble works of high mastery, which indicate that Tintoretto was by this time a consummate painter—one of the few who have attained to the highest eminence in the absence of any recorded formal training. Until 2012,
1174:(1553). He subverts the usual portrayal of the subject, in which Saint George slays the dragon and rescues the princess; here, the princess sits astride the dragon, holding a whip. The result is described by art critic
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In 1866, the grave of the Vescovi—his wife's family—and Tintoretto was opened, and the remains of nine members of the joint families were found in it. The grave was then moved to a new location, to the right of the
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arrived in Venice and quickly began receiving the prestigious commissions that Tintoretto coveted. Unwilling to be overshadowed by his new rival, Tintoretto approached the leaders of his neighbourhood church, the
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Tintoretto was Venice's most prolific painter of portraits during his career. Modern critics have often described his portraits as routine works, although his skill in depicting elderly men, such as
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on the day of the competition. Tintoretto then announced that he was offering the painting as a gift—perhaps conscious that a bylaw of the foundation prohibited the rejection of any gift.
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256:. 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
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to decorate the hall called the Sala dell'Albergo. Instead of a sketch, Tintoretto produced a full-sized painting, secretly installed it on the ceiling, and presented it as a
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and various instruments, some of them of his own invention, and designed theatrical costumes and properties. He was well versed in mechanics and mechanical devices also.
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An agreement is extant showing a plan to finish two historical paintings—each containing twenty figures, seven being portraits—in a two-month period of time.
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lived poorly, collecting casts, bas-reliefs, and prints, and practising with their aid. At some time, possibly in the 1540s, Tintoretto acquired models of
667:. The subterfuge by which he won the commission has been called "the most notorious incident of Tintoretto's career". In 1564, four finalists—Tintoretto,
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was attributed to Schiavone. But a new analysis of the work has revealed it as one of a series of three paintings by Tintoretto, depicting the legend of
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Tintoretto competed with several other artists for the prestigious commission. A large sketch of the composition he submitted in 1577 is now in the
696:, for which a sum of 250 ducats was paid. In 1576 he presented gratis another centre-piece—that for the ceiling of the great hall, representing the
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It was probably in 1560, the year in which he began working in the Scuola di S. Rocco, that Tintoretto commenced his numerous paintings in the
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spanning the artist's entire career and ranging from regal portraits of Venetian aristocracy to religious and mythological narrative scenes.
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considered Tintoretto's "smouldering portraits of personalities who seemed consumed by their own fire" to be his "most irresistible" works.
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and the Holy Cross. The error was uncovered during work on a project to catalogue continental European oil paintings in the United Kingdom.
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13:14–16. In the restless dynamism of his composition, his dramatic use of light, and his emphatic perspective effects, Tintoretto seems a
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Tintoretto scarcely ever travelled away from Venice. His early biographers write of his intelligence and fierce ambition; according to
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Between 1565 and 1567, and again from 1575 to 1588, Tintoretto produced a large number of paintings for the walls and ceilings of the
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for 'the Furious'). His work is characterised by his muscular figures, dramatic gestures and bold use of perspective, in the
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were among them. Marietta had been a frequent companion with Tintoretto in her childhood and became an accomplished artist. His son
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942:, but Veronese died in 1588 before starting the work, and the commission was reassigned to Tintoretto. He set up his canvas in the
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When the painting had been nearly completed he took it to its proper place, where it was completed largely by assistants, his son
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in almost-mathematical symmetry. In the hands of Tintoretto, the same event becomes dramatic, as the human figures are joined by
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assistants. He was full of pleasant witty sayings, whether to great personages or to others, but he himself seldom smiled.
1002:, who likely saw his works during a stay in Venice, and studied them well enough that they influenced his painting style.
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and worked indefatigably at the task, making many alterations and doing various heads and costumes direct from life.
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In about 1560, Tintoretto married his second wife, Faustina de Vescovi, daughter of a Venetian nobleman who was the
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About 1560, Tintoretto married his second wife, Faustina de Vescovi, daughter of a Venetian nobleman who was the
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Tintoretto: Artist of Renaissance Venice, exhibition at National Gallery of Art, March 4 – July 7, 2019
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inferior in execution to the two sketches. It has suffered from neglect, but little from restoration.
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1264:) is an austerely symmetrical depiction of the aged artist "bleakly contemplating his mortality".
863:, which were painted for fifty ducats each, excluding materials, c. 1578; in the hall of the
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Tintoretto next launched out into the painting of the entire scuola and of the adjacent church of
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In 1548 Tintoretto was commissioned to paint a large decoration for the Scuola di S. Marco: the
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provides an instructive demonstration of how artistic styles evolved over the course of the
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commissioned for it, so that paradise itself might perchance be his recompense after death.
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is described as dismissing them as the work of "a mere 'facepainter'". Echols 2018, p. 238.
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Little is known of Tintoretto's childhood or training. According to his early biographers
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being his colleague. In the Sala dell Anticollegio, Tintoretto painted four masterpieces—
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conveyed by the gestures and dynamism of the figures rather than by facial expressions.
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The painting was a triumphant success, despite some detractors. Tintoretto's friend
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Schjeldahl, Peter (April 1, 2019). "All In: The vicarious thrill of Tintoretto".
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170:(late September or early October 1518 – 31 May 1594), best known as
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One Thousand Years of Painting: An Atlas of Western Painting from 1000 to 2000 A.D
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remarked that Tintoretto could paint in two days as much as himself in two years;
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2381:. Vol. 26 (11th ed.). Cambridge University Press. pp. 1001–1003.
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is the name that appears in his tax declarations and other official documents.
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Tintoretto maintained friendships with many writers and publishers, including
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There are reflections of Tintoretto to be found in the Greek painter of the
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700:; and in the following year he completed this ceiling with pictures of the
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The Fine Art of Success: How Learning Great Art Can Create Great Business
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Capture of Zara from the Hungarians in 1346 amid a Hurricane of Missiles
822:. Other works (destroyed by a fire in the palace in 1577) succeeded—the
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One of Tintoretto's early pictures still extant is in the church of the
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1198:. Leonardo's is all classical repose. The disciples radiate away from
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1206:. A servant is placed in the foreground, perhaps in reference to the
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741:) where the original undercoat shines through the bold brushstrokes.
1720:"BBC News – Tintoretto painting uncovered at London V&A museum"
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This article incorporates text from a publication now in the
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House of Tintoretto, "Fondamenta dei mori", in Cannaregio, Venice
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2325:, revised and expanded second edition. London: Reaktion Books
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Davies, David, Xavier Bray, and John Huxtable Elliott (2004).
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Tintoretto's pictorial wit is evident in compositions such as
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had been painted by Tintoretto (and not by his contemporary
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Before his marriage to Faustina, Tintoretto had a daughter,
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accepting whatever pittance the confraternity chose to pay.
328:(1660), his only formal apprenticeship was in the studio of
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at Web Gallery of Art, the most complete gallery of the web
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Danto, Arthur C. (16 April 2007). "A Mannerist in Madrid".
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Nichols, T. (2003). "Tintoretto family". Grove Art Online.
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Titian, Tintoretto, Veronese: Rivals in Renaissance Venice
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The crowning production of Tintoretto's life was the vast
675:, and Paolo Veronese—were invited by the Scuola to submit
1067:. Faustina and he had many children, of whom three sons (
785:, and (this alone having been marred by restoration) the
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Jamie Anderson; Jörg Reckhenrich; Martin Kupp (2011).
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In 1565, he resumed work at the scuola, painting the
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Il disegno di Michelangelo ed il colorito di Tiziano
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789:are leading examples in the scuola; in the church,
745:The development of fast painting techniques called
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818:; he then executed there a portrait of the Doge,
2266:Bernari, Carlo, and Pierluigi de Vecchi (1970).
1025:He loved all the arts and as a youth played the
368:("Michelangelo's drawing and Titian's colour").
2205:New York: Stewart, Tabori & Chang. p. 266.
27:16th-century Italian painter of the Renaissance
1819:
1817:
1114:, who had died in 1590 at the age of thirty.
970:Tintoretto had very few pupils; his daughter,
548:, an oil-on-canvas painting for the church of
535:(1549), one of the first of Tintoretto's many
496:, are held in galleries in the United States.
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2013:
2011:
1966:Ilchman, Frederick, and Linda Borean (2009).
1282:The Embarkation of St Helena in the Holy Land
1242:He painted two self-portraits. In the first (
474:The Embarkation of St Helena in the Holy Land
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289:in 1518. His father, Battista, was a dyer –
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1172:Saint George, Saint Louis, and the Princess
1135:Saint George, Saint Louis, and the Princess
877:Saint George, Saint Louis, and the Princess
871:(1581–84); in the hall of the college, the
843:After the fire, Tintoretto started afresh,
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2251:"Tintoretto: Artist of Renaissance Venice"
1792:(in Italian). Milano: Rizzoli. p. 98.
1687:. Reaktion Books, 1999, pp. 103 and 241ff.
1055:by Tintoretto is of his daughter, Marietta
49:
38:
681:for a ceiling painting on the subject of
642:St Mark Rescuing a Saracen from Shipwreck
2308:Tintoretto: Artist of Renaissance Venice
2049:. London: National Gallery. pp. 10, 32.
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1788:Presentazione di Carlo Bernardi (1970).
1701:
1040:, who became an important early patron.
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597:Presentation of the Virgin in the Temple
313:. Older studies gave the Tuscan town of
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1535:
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2880:Saint Mark series (1548 or 1562–1566)
2669:Portrait of Queen Christina of Denmark
2415:Artcyclopedia – Tintoretto's paintings
849:Bacchus, with Ariadne crowned by Venus
243:
2570:Portrait of Procurator Jacopo Soranzo
2282:Butterfield, Andrew (26 April 2007).
1913:Ośrodek Kultury Europejskiej EUROPEUM
1598:. Milan, Italy: Electa. p. 427.
234:
7:
3015:Painters from the Republic of Venice
1227:(1568), Ca' Rezzonico Museum, Venice
987:pictorial practitioner in his way.
934:The commission was given jointly to
82:late September or early October 1518
2899:Saint Mark's Body Brought to Venice
2731:Saint Mark's Body Brought to Venice
1182:A comparison of Tintoretto's final
533:Saint Roch Cures the Plague Victims
435:Presentation of Jesus in the Temple
2645:Mars and Venus Surprised by Vulcan
2509:Christ Washing the Disciples' Feet
2393:52 artworks by or after Tintoretto
2323:Tintoretto: Tradition and Identity
2111:Bernari and de Vecchi 1970, p. 84.
2068:Tintoretto. Tradition and Identity
1834:Tintoretto. Tradition and Identity
1685:Tintoretto. Tradition and Identity
1672:Tintoretto. Tradition and Identity
1584:Bernari and de Vecchi 1970, p. 83.
25:
2892:Finding of the Body of Saint Mark
2723:Finding of the Body of Saint Mark
1970:. Surrey: Lund Humphries. p. 45.
944:Scuola vecchia della Misericordia
875:(1581–84); in the Antichiesetta,
873:Espousal of St Catherine to Jesus
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1940:"Prestezza – A New Way to Paint"
1836:. Redaktion Books, 1999, p. 101.
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637:St Mark's Body Brought to Venice
561:St Mark's Body Brought to Venice
445:); also in S. Benedetto are the
309:, in Lombardy, then part of the
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153:
2739:Portrait of Doge Pietro Loredan
2268:L'opera completa del Tintoretto
2070:. Redaktion Books, 1999, p. 13.
1790:L'opera completa del Tintoretto
494:St Helen Testing the True Cross
490:The Discovery of the True Cross
488:in 1865. Its sister paintings,
1909:"Admirał młodzieńcem podszyty"
1674:. Reaktion Books, 1999, p. 14.
1361:Finding of the body of St Mark
1222:Portrait of Marquis Francesco
731:Portrait of a Venetian admiral
631:Finding of the body of St Mark
1:
2985:16th-century Italian painters
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2704:
2689:
2634:
2619:
2604:
2589:
2574:
2559:
2544:
2529:
2513:
2493:Madonna and Child with Saints
1254:
1243:
1192:treatment of the same subject
804:
622:
600:
565:
439:
404:
317:as the origin of the family.
59:
2990:16th-century Venetian people
2816:The Vision of Saint Nicholas
2769:Christ at the Sea of Galilee
1570:Echols 2018, pp. 39–40, 227.
1448:Madonna with Child and Donor
1280:announced that the painting
1097:After the completion of the
801:Christ at the Sea of Galilee
482:The Embarkation of St Helena
401:Self-Portrait as a Young Man
2929:Marietta Robusti (daughter)
2777:The Origin of the Milky Way
2677:Saint George and the Dragon
2426:Jacopo Tintoretto. Pictures
2179:called them "unmemorable";
1381:The Origin of the Milky Way
791:Christ Curing the Paralytic
610:, which is still standing.
542:Around 1555 he painted the
460:. Two of these, now in the
281:The years of apprenticeship
250:Italian Renaissance painter
32:Tintoretto (disambiguation)
3041:
2995:Italian Mannerist painters
2934:Scuola Grande di San Rocco
2785:Bacchus, Venus and Ariadne
2700:Portrait of Alvise Cornaro
2685:The Deliverance of Arsinoe
2653:Presentation at the Temple
2615:Presentation of the Virgin
2600:Joseph and Potiphar's Wife
2369:Tintoretto, Jacopo Robusti
2341:La Vita di Giacopo Robusti
2120:Echols 2018, pp. xiii, 10.
1326:The Deliverance of Arsinoe
1278:Victoria and Albert Museum
1251:Philadelphia Museum of Art
1214:artist ahead of his time.
1065:Scuola Grande di San Marco
896:
720:San Pietro Martire, Murano
665:Scuola Grande di San Rocco
653:Scuola Grande di San Marco
615:Worship of the Golden Calf
486:Victoria and Albert Museum
104:Venice, Republic of Venice
29:
2924:Domenico Tintoretto (son)
2365:Rossetti, William Michael
2310:. Yale University Press.
2201:Gowing, Lawrence (1987).
2192:Echols 2018, pp. 156–157.
2005:Echols 2018, pp. 214–215.
1996:Echols 2018, pp. 30, 215.
1946:. John Wiley & Sons.
1661:Echols 2018, pp. 172–173.
1452:National Museum of Serbia
929:Thyssen-Bornemisza Museum
783:Christ carrying His Cross
771:Massacre of the Innocents
550:Santa Maria dei Crociferi
451:Christ with the Woman of
258:
161:
152:
143:
48:
2585:Assumption of the Virgin
2288:New York Review of Books
1652:Echols 2018, pp. 41, 85.
1643:Echols 2018, pp. 18, 85.
1467:The Prayer in the Garden
1419:Art Institute of Chicago
1346:Santa Maria della Salute
869:Venice, Queen of the Sea
853:Three Graces and Mercury
787:Assumption of the Virgin
545:Assumption of the Virgin
3020:Italian Roman Catholics
2501:Esther Before Ahasuerus
2411:257 works by Tintoretto
2378:Encyclopædia Britannica
2306:Echols, Robert (2018).
2203:Paintings in the Louvre
1802:Echols 2018, pp. 14–17.
1625:Echols 2018, pp. 38–40.
1594:Zuffi, Stefano (2004).
881:St Jerome and St Andrew
857:Minerva discarding Mars
706:Moses striking the Rock
462:Gallerie dell'Accademia
297:
285:Tintoretto was born in
2942:(studio of Tintoretto)
2661:Susanna and the Elders
2321:Nichols, Tom (2015) .
1481:The Raising of Lazarus
1228:
1167:
1138:
1094:
1056:
1044:Marriages and children
1015:
912:
811:
742:
722:
583:
572:
523:
410:
393:
291:
3010:Italian male painters
2940:Judith and Holofernes
2907:Fasti of the Gonzagas
2129:Echols 2018, p. xiii.
1523:The Baptism of Christ
1433:The Flight into Egypt
1397:Judith and Holofernes
1220:
1160:
1147:Sebastiano del Piombo
1133:
1089:
1051:
1013:
906:
799:
767:Adoration of the Magi
728:
714:
578:
558:
516:
399:
379:
236:[tintoˈretto]
3000:Painters from Venice
2885:Miracle of the Slave
2420:Works and literature
2409:JacopoTintoretto.org
2345:A Life of Tintoretto
2240:Echols 2018, p. 148.
2231:Echols 2018, p. 146.
2167:Echols 2018, p. 145.
2017:Echols 2018, p. 216.
1987:Echols 2018, p. 137.
1415:Tarquin and Lucretia
1310:The Supper at Emmaus
974:, his two sons, and
826:Frederick Barbarossa
779:Christ before Pilate
519:Miracle of the Slave
507:Miracle of the Slave
500:Saint Mark paintings
484:was acquired by the
245:[tiŋtoˈɾeto]
88:, Republic of Venice
30:For other uses, see
2953:formerly attributed
2284:"Brush with Genius"
2270:. Milano: Rizzoli.
2102:Echols 2018, p. 54.
2088:Echols 2018, p. 53.
2079:Echols 2018, p. 44.
1866:Echols 2018, p. 21.
1854:Echols 2018, p. 53.
1811:Echols 2018, p. 15.
1778:Echols 2018, p. 12.
1634:Echols 2018, p. 85.
1616:Echols 2018, p. 39.
1366:Pinacoteca di Brera
1104:Scuola dei Mercanti
997:Spanish Renaissance
984:Domenico Tintoretto
824:Excommunication of
775:Agony in the Garden
683:Saint Roch in Glory
659:Scuola di San Rocco
2485:The Siege of Asola
2278:(Italian language)
2222:Echols 2018, p. 2.
2181:John Pope-Hennessy
1769:Echols 2018, p. 7.
1229:
1168:
1139:
1095:
1090:His grave, in the
1057:
1053:Portrait of a Lady
1016:
913:
830:Pope Alexander III
812:
743:
723:
698:Plague of Serpents
608:Fondamenta de Mori
584:
573:
524:
419:Belshazzar's Feast
413:The young painter
411:
394:
382:The Siege of Asola
311:Republic of Venice
3025:Catholic painters
2962:
2961:
2801:Baptism of Christ
2630:Leda and the Swan
2331:978 1 78023 450 2
1953:978-11-19992-53-0
1823:Butterfield 2007.
1188:Leonardo da Vinci
1151:Annibale Carracci
1092:Madonna dell'Orto
940:Francesco Bassano
673:Giuseppe Salviati
593:Madonna dell'Orto
165:
164:
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1919:on 28 March 2014
1915:. Archived from
1907:Grażyna Bastek.
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1495:St Mary Magdalen
1491:
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1444:
1429:
1417:(c. 1578),
1411:
1399:(c. 1577),
1393:
1376:
1364:(c. 1564),
1356:
1342:Marriage at Cana
1338:
1321:
1306:
1286:Andrea Schiavone
1259:
1256:
1248:
1245:
1076:Marietta Robusti
809:
808: 1575–1580
806:
716:Baptism of Jesus
669:Federico Zuccaro
627:
624:
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580:St Roch in Glory
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2036:, p. 1003.
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1237:Lawrence Gowing
1184:The Last Supper
1163:The Last Supper
1128:
1084:
1061:guardian grande
1046:
1008:
993:
968:
901:
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861:Forge of Vulcan
820:Girolamo Priuli
807:
735:National Museum
661:
649:guardian grande
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464:in Venice, are
442:
432:in Venice, the
407:
387:National Museum
374:
295:in Italian and
283:
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254:Venetian school
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1702:Rossetti 1911
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1276:In 2013, the
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1266:Édouard Manet
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1020:Carlo Ridolfi
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702:Paschal Feast
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687:fait accompli
684:
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619:Last Judgment
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470:Death of Abel
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423:Cavalry Fight
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56:Self-portrait
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2568:
2555:Adam and Eve
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2523:
2507:
2499:
2491:
2483:
2469:
2395: at the
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2344:
2340:
2322:
2307:
2296:. Retrieved
2291:
2287:
2267:
2245:
2236:
2227:
2218:
2202:
2197:
2188:
2172:
2152:
2147:
2142:. pp. 34–36.
2139:
2134:
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2084:
2075:
2067:
2062:
2046:
2041:
2001:
1992:
1983:
1967:
1962:
1943:
1933:
1921:. Retrieved
1917:the original
1912:
1902:
1850:
1841:
1833:
1828:
1807:
1798:
1789:
1783:
1774:
1750:. Retrieved
1740:
1728:. Retrieved
1684:
1679:
1671:
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1657:
1648:
1639:
1630:
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1612:
1595:
1589:
1566:
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1508:
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1447:
1432:
1414:
1401:Prado Museum
1396:
1379:
1359:
1341:
1324:
1309:
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1176:Arthur Danto
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786:
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759:Adam and Eve
758:
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746:
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715:
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686:
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662:
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466:Adam and Eve
465:
450:
447:Annunciation
446:
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412:
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380:
365:
359:
353:
347:
341:
338:Michelangelo
334:
319:
284:
259:
171:
167:
166:
99:(1594-05-31)
36:
2980:1594 deaths
2975:1518 births
2949: 1577
2909:(1578–1580)
2866:(1592–1594)
2863:Last Supper
2856: 1588
2831:Il Paradiso
2824: 1582
2809: 1580
2788:(1576–1577)
2780:(1575–1580)
2762: 1570
2747: 1567
2734:(1562–1566)
2726:(1562–1566)
2715:Crucifixion
2708: 1560
2693: 1560
2672:(1555–1556)
2664:(1555–1556)
2656:(1554–1556)
2648:(1551–1554)
2638: 1550
2623: 1551
2608: 1555
2593: 1555
2578: 1550
2563: 1550
2548: 1550
2533: 1550
2517: 1548
2504:(1546–1547)
2496:(1545–1546)
2488:(1544–1545)
1258: 1588
1247: 1546
1196:Renaissance
1006:Personality
899:Il Paradiso
887:(1584–87).
835:Victory of
694:Crucifixion
626: 1559
604: 1556
569: 1564
443: 1542
408: 1548
385:(1544–45),
372:Early works
324:(1642) and
130:Renaissance
110:Nationality
97:31 May 1594
63: 1588
3005:Tintoretto
2969:Categories
2847:Visitation
2524:Visitation
2470:Tintoretto
2422:on PubHist
2140:The Nation
1752:21 January
1730:21 January
1559:References
1454:, Belgrade
1224:Gherardini
931:, Madrid.
859:, and the
763:Visitation
729:Detail of
260:il Furioso
248:), was an
172:Tintoretto
43:Tintoretto
2793:The Muses
2526:(Bologna)
2477:Paintings
2367:(1911). "
2276:478839728
1604:907045157
991:Influence
755:San Rocco
747:prestezza
586:In 1551,
478:St Helena
270:Mannerist
241:Venetian:
148:Signature
134:Mannerism
2849:(Venice)
2339:(1642).
2298:18 April
2155:. p. 77
2047:El Greco
1748:. Wga.hu
1344:(1561),
1112:Marietta
1099:Paradise
1069:Domenico
1000:El Greco
972:Marietta
956:Paradise
951:Domenico
917:Paradise
909:Paradise
892:Paradise
833:and the
733:(1570s,
617:and the
537:laterali
468:and the
303:Venetian
232:Italian:
126:Movement
121:Painting
113:Venetian
2917:Related
2772:(1570s)
2375:(ed.).
2362::
2261:Sources
1923:20 June
1549:Robusti
1296:Gallery
1212:baroque
1063:of the
980:Antwerp
837:Lepanto
678:modelli
651:of the
458:Genesis
453:Samaria
430:Carmine
307:Brescia
292:tintore
272:style.
266:Italian
252:of the
69:, Paris
2842:(1588)
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2749:–1570)
2718:(1565)
2710:–1565)
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2397:Art UK
2371:". In
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2329:
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2209:
2053:
1974:
1950:
1602:
1384:(1575)
1272:Legacy
1262:Louvre
1204:angels
1200:Christ
1166:(1594)
1137:(1553)
966:Pupils
925:Louvre
879:, and
865:senate
851:, the
773:, the
769:, the
765:, the
761:, the
739:Warsaw
640:, and
634:, the
582:(1564)
522:(1548)
421:and a
391:Poznań
330:Titian
298:tintor
287:Venice
86:Venice
67:Louvre
2754:Danaë
2403:Works
1746:"wga"
1545:Comin
1530:Notes
1249:–47;
1154:iron.
1126:Style
1120:choir
1082:Death
361:Night
315:Lucca
2399:site
2327:ISBN
2312:ISBN
2300:2007
2272:OCLC
2207:ISBN
2051:ISBN
1972:ISBN
1948:ISBN
1925:2013
1754:2014
1732:2014
1600:OCLC
1027:lute
938:and
704:and
492:and
449:and
358:and
355:Dusk
343:Dawn
276:Life
223:-tə-
94:Died
75:Born
2951:) (
1724:BBC
1190:'s
978:of
828:by
737:in
644:.
349:Day
340:'s
301:in
227:-oh
225:RET
221:TIN
2971::
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2853:c.
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2806:c.
2759:c.
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2530:c.
2514:c.
2292:54
2290:.
2286:.
2160:^
2093:^
2022:^
2010:^
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1911:.
1871:^
1859:^
1816:^
1762:^
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1709:^
1692:^
1575:^
1547:.
1450:,
1260:;
1255:c.
1244:c.
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