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vexation with these painters caused him to bequeath all to
Sebastiano Casser. Sebastiano, of German descent, married Domenico's sister and eventually adopted the Tintoretto name. He continued to maintain the shop as a studio and a museum after the death of Domenico in 1635 and Marco in 1637. Domenico died at the age of seventy-five and was buried near his father in
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At age seventy-four
Domenico was stricken with apoplexy and lost the use of his right hand. Though he attempted to paint with his left hand, this proved unsuccessful. Domenico had toyed with the idea of giving the studio to its present painters for the formation of an academy, but eventually, his
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in Venice. Domenico then began to work independently in the palace, focusing his work on historical themes, including complex arrangements of multiple figures in battle scenes. But throughout his life, Domenico also painted several religious commissions. Some of his celebrated altarpieces include
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When Jacopo died in 1594, Domenico handily took over the running of the studio of
Tintoretto, with the help of his younger brother Marco, and his assistant Bastian Casser. While Domenico's early work continued on in the vein of his father's artistic vision, coupling phosphorescent colours with
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The attribution of paintings from the
Tintoretto studio is a subject of scholarly debate in determining which paintings were executed by the father and which by his son. But one such scholar takes this debate of attribution a step further. E. Tietze-Conrat finds Domenico's painting to be so
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figure-laden compositions, his own artistic personality eventually emerged in a tendency to give more focus to landscapes within a composition, or background details. Jacopo's drawings relied heavily on gestural line work, but
Domenico's drawings tended towards a
235:. In this portrait, Domenico goes beyond rendering physical likeness and social status and achieves the Renaissance ideal of capturing the individuality of the sitter, an accomplishment that places him in the tradition of Rembrandt, Velasquez or Titian.
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visited Venice in 1628, he writes of acquiring a painting that he assigns to “Jacopo
Tintoretto the Younger” and describes the painting as a Venus reclining on a velvet couch flanked by Cupid with a wreath of laurel and a courtier playing a lute.
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modelling of forms. Though
Domenico worked as an artist in the shadow of his father, at times his work was undeniably superior to that of Jacopo Robusti. One example of this success is in the painting
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on the subject of
Verginella and from Lucretius and Marino he painted a man sitting on a cradle with one foot on the edge of a tomb, implying, "From the cradle to the grave life is but a short step".
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In
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It is argued that
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Tietze-Conrat, E. “The Holkham Venus in the Metropolitan Museum.”
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The Life of Tintoretto and of his Children Domenico and Marietta.
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and the evidence of surviving portraits such as that of Sir
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The Jacobean Grand Tour: Early Stuart Travellers in Europe
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he painted many English visitors to Venice, including the
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The Pennsylvania State University Press: London, 1984.
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166:. Other commissioned portraits include the Duchess
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88:Translation of the Body of St. Mark to Venice
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251:Assessment
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164:Philip III
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540:Paintings
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168:Margarita
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