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    Delphi Complete Works of Tintoretto (Illustrated)
    Delphi Complete Works of Tintoretto (Illustrated)
    Delphi Complete Works of Tintoretto (Illustrated)
    Ebook710 pages2 hours

    Delphi Complete Works of Tintoretto (Illustrated)

    By Peter Russell and Tintoretto

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    About this ebook

    The great Italian Mannerist painter of the Venetian school, Tintoretto was one of the most important artists of the late Renaissance. Due to his phenomenal energy in painting he was termed ‘Il Furioso’ and his works are characterised by their muscular figures, dramatic gestures and bold use of perspective. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Tintoretto’s complete works in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)


    * The complete paintings of Tintoretto — over 280 paintings, fully indexed and arranged in chronological and alphabetical order
    * Includes reproductions of rare works
    * Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
    * Enlarged ‘Detail’ images, allowing you to explore Tintoretto’s celebrated works in detail, as featured in traditional art books
    * Hundreds of images in colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
    * Special chronological and alphabetical contents tables for the paintings
    * Easily locate the paintings you wish to view
    * Includes Tintoretto's drawings
    * Features three bonus biographies - discover Tintoretto's artistic and personal life


    Please visit www.delphiclassics.com to browse through our range of exciting e-Art books


    CONTENTS:


    The Highlights
    Sacra Conversazione Molin
    The Siege of Asola
    Christ and the Woman Taken in Adultery
    Christ Washing the Disciples’ Feet
    The Miracle of the Slave
    Saint Mark Working Many Miracles
    Portrait of a Genoese Nobleman
    The Creation of the Animals
    Saint George Fighting the Dragon
    The Presentation of the Virgin in the Temple
    The Deliverance of Arsinoe
    Susanna and the Elders
    The Apotheosis of Saint Roch
    The Crucifixion of Christ
    Moses Drawing Water from the Rock
    Paradise
    Self Portrait, 1588
    Last Supper, 1594


    The Paintings
    The Complete Paintings
    Alphabetical List of Paintings


    The Drawings
    List of Drawings


    The Biographies
    Jacopo Tintoretto by Giorgio Vasari
    Tintoretto by S. L. Bensusan
    Tintoretto by William Michael Rossetti


    Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set


    LanguageEnglish
    PublisherDelphi Classics Ltd
    Release dateFeb 27, 2018
    ISBN9781786564962
    Delphi Complete Works of Tintoretto (Illustrated)

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      Book preview

      Delphi Complete Works of Tintoretto (Illustrated) - Peter Russell

      Tintoretto

      (1518-1594)

      Contents

      The Highlights

      Sacra Conversazione Molin

      The Siege of Asola

      Christ and the Woman Taken in Adultery

      Christ Washing the Disciples’ Feet

      The Miracle of the Slave

      Saint Mark Working Many Miracles

      Portrait of a Genoese Nobleman

      The Creation of the Animals

      Saint George Fighting the Dragon

      The Presentation of the Virgin in the Temple

      The Deliverance of Arsinoe

      Susanna and the Elders

      The Apotheosis of Saint Roch

      The Crucifixion of Christ

      Moses Drawing Water from the Rock

      Paradise

      Self Portrait, 1588

      The Last Supper, 1594

      The Paintings

      The Complete Paintings

      Alphabetical List of Paintings

      The Drawings

      List of Drawings

      The Biographies

      Jacopo Tintoretto by Giorgio Vasari

      Tintoretto by S. L. Bensusan

      Tintoretto by William Michael Rossetti

      The Delphi Classics Catalogue

      © Delphi Classics 2018

      Version 1

      Browse our Art eBooks…

      Buy the entire Masters of Art Series at a reduced price

      Masters of Art Series

      Tintoretto

      By Delphi Classics, 2018

      COPYRIGHT

      Masters of Art - Tintoretto

      First published in the United Kingdom in 2018 by Delphi Classics.

      © Delphi Classics, 2018.

      All rights reserved.  No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published.

      ISBN: 978 1 78656 496 2

      Delphi Classics

      is an imprint of

      Delphi Publishing Ltd

      Hastings, East Sussex

      United Kingdom

      Contact: sales@delphiclassics.com

      www.delphiclassics.com

      The Highlights

      Brescia, a city and commune in the region of Lombardy in northern Italy — Tintoretto’s family originated from Brescia.

      Tintoretto was born in Venice in 1518

      ‘View of San Marco Basin’ by Gaspar van Wittel, 1697

      Self portrait of Tintoretto as a young man

      The Highlights

      In this section, a sample of Tintoretto’s most celebrated works is provided, with concise introductions, special ‘detail’ reproductions and additional biographical images.

      Sacra Conversazione Molin

      The Mannerist artist Jacopo Comin was born in Venice in 1518, as the eldest of twenty-one children. His father, Giovanni, was a dyer, or tintore — hence the nickname ‘little dyer’ or ‘dyer’s boy’ that he would acquire in his youth. The family originated from Brescia, in Lombardy, then part of the Republic of Venice. Jacopo was a born painter and from an early age he is reputed to have daubed on the walls at his father’s place of work. Noticing his son’s early talent, Giovanni took him to the studio of Titian to see how far he could be trained as an artist. Reports suggest this occurred in 1533, when Titian was already fifty-six years of age. Tintoretto had only been ten days in the studio when Titian sent him home. One tradition holds that the reason for this dismissal was that Titian had observed some ‘very spirited drawings’ by the youngster and at once became jealous of so promising a scholar. A fairer understanding of the story would be that Titian believed the drawings exhibited so much independence of manner that he felt Tintoretto would never be a good pupil, although he might become a first-rate painter.

      From this time forward the two artists always remained on distant terms. Indeed, Tintoretto was a professed and ardent admirer of Titian, but he could never count himself a friend, as Titian and his adherents treated him coldly. After his dismissal, Tintoretto sought no further teaching, but studied on his own account with zeal. He learnt his art inexpensively, collecting casts and bas-reliefs, practising by their aid. His noble conception of art and his high personal ambition are demonstrated in the inscription that he placed over his studio Il disegno di Michelangelo ed il colorito di Tiziano (Michelangelo’s drawing and Titian’s colour).

      As well as a great admirer of the works of Michelangelo, Tintoretto became an expert in modelling in the wax and clay method, allowing him to precisely arrange of his pictures. The models were sometimes taken from dead subjects dissected or studied in anatomy schools. Some of these were draped, others nude, while he suspended them in a wooden or cardboard box, with an aperture for a candle. Dedicated to his art, he often worked by night and day.

      Tintoretto’s two earliest mural paintings are said to have been Belshazzar’s Feast and a Cavalry Fight. These are both long since lost, as are all his frescoes, early or later. His first painting to attract considerable notice was a portrait-group of himself and his brother — the latter playing a guitar — with a nocturnal effect; now also lost.  The earliest extant painting generally ascribed to Tintoretto is the Sacra Conversazione Molin, now held in an American private collection. It is signed ‘JACHOBUS’ and dated 1540 — both details revealing how proud the young artist must have felt regarding his work.

      Sacra Conversazione comes from the Italian for ‘holy conversation’, indicating an altarpiece in which attendant saints and holy figures are grouped in a unified space around the centralised Virgin and Child in a single panel. The Sacra Conversazione gradually replaced the polyptych form of the fifteenth century. In earlier works the saints were seldom engaged in actual conversation, instead meditating or reading. The occasional saint looks out at the viewer, while another would gesture towards the Virgin and Child, directing the viewer’s attention to their presence as the focal point of the altarpiece. In the sixteenth century, interpretations of the theme began to shift and an interchange, if not conversation, between figures became more prevalent.

      Tintoretto’s composition of the Sacra Conversazione employs a pyramidal structure of figures, intended to be viewed from high up, conveying a sense of monumentality for the holy subjects looming above. The central figure of the Virgin Mary is borrowed from Michelangelo’s Medici Madonna (Sagrestia Nuova San Lorenzo, Florence) a marble sculpture likely known to Tintoretto from drawings and oral descriptions. Grouped to the left of the Virgin, who sits casually back, are Zacharias, Elizabeth and the infant John the Baptist, seen from behind, while Joseph, Saint Catherine and Saint Francis are portrayed on the right. Some critics have suggested that the latter figure is in fact a portrait of the original patron. Christ’s naval presents the focal point of the canvas, offering a symbol of the incarnation of God. Zacharias rests his foot on a plinth displaying the emblem of a millwheel, between the artist’s signature and the date, suggesting that the patron may have been a member of the Molin family, which had many branches.

      A recurring feature of Tintoretto’s art is the inclusion of supports for figures to lean against or rest upon in compositions. Several examples occur in this canvas alone: Zacharias, Joseph, John and Catherine all require some form of ‘support’, much like sculptural creations. The artist is believed to have had restricted growth and likely suffered privations throughout his childhood and youth due to his short size. His decision to portray figures in need of support might reveal his slighting regard of the human body as a temporary and an unreliable vessel for the soul, which at times could be a frail burden.

      Detail

      Detail

      Detail

      Detail

      Detail

      Self Portrait of Titian, c. 1567; Museo del Prado, Madrid

      The Medici Madonna by Michelangelo, Basilica of San Lorenzo, Florence, 1534

      The Siege of Asola

      During the 1540’s, the young painter Andrea Schiavone, four years Tintoretto’s junior, was much in his company. Tintoretto helped Schiavone for free in wall-paintings and in many subsequent projects he worked also for nothing, allowing him to win commissions. His largest commission to date in 1544 was The Siege of Asola, measuring 198 x 469 cm, completed as oil on canvas.

      The painting presents a broad panorama of figures and actions, portraying two principal scenes. From the left to the centre of the image, we witness a dramatic clash of knights in the foreground, detailing the real-life events of the siege of the Venetian town of Asola by the troops of the Austrian Emperor Maximilian I in 1516. Among the fighting soldiers is the banner of Asola, while the walled fortress rises above the conflict in the background. Amidst the carnage of men, white noble horses stand out, their manes blown heroically back in the wind, perhaps hinting at the futility of man.

      The second scene, taking up the right section of the painting, concerns the victory for the citizens of Asola, after the Venetian curator Francesco Contarini, the nobleman who organised the city’s defence, has forced Maximilian’s troops to withdraw. An elaborate inscription commemorates the victory in Italian, confirming the artist’s early commission. The nobility of peace is emphasised, as the figures are arranged in stately poses, dressed in rich garments, as they appear to communicate in pacific tones. The defeated Emperor, his arms holding out his standard as an offering of surrender, stands on a lower step, approached by the victorious curator from above. The curator modestly gestures down to the Emperor, conscious of his humiliation in defeat. This tender scene of concord contrasts strikingly with the violence and turmoil of war juxtaposed to the left.

      Formerly held in the National Museum, Poznań, the canvas came up for auction at Christie’s London in 2014, where it sold for £1.14 million; now this early Tintoretto masterpiece resides in a private collection.

      Detail

      Detail

      Detail

      Detail

      Detail

      Andrea Schiavone by G. B. Gelli

      Christ and the Woman Taken in Adultery

      From May 1539 until 1547, Tintoretto spent his time working in the parish of San Cassiano, lying within the bend of the Canal Grande at the Rialto, in the heart of the trading city centre. The nearby commercial houses, inns and brothels brought merchants from all over the world to the area and their exotic appearance would have had a great deal of influence on the young artist’s early costume paintings, from Solomon and the Queen of Sheba to Christ and the Woman Taken in Adultery. 

      The latter painting, found today in Rome’s Galleria Nazionale d’Arte Antica, was completed in the years between 1545 and 1550, concerns the encounter of Christ and a woman taken in adultery, as narrated in John 8: 1 -11. Tintoretto positions the adulteress standing in the midst before Christ, who is seated in the temple preaching, while his disciples are gathered to the left, their haloes softer and not as pronounced as Christ’s. The scribes and Pharisees are departing the scene of their defeat to the right. According to the biblical story, Christ’s judgment frees the woman from the power of her noble accusers, as he challenges them: "He that

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