Jacopo Robusti says Tintoret. 

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Jacopo Robusti says Tintoret (1518 - 1594)

It is the principal one representing Italian mannerism. The importance of its work with regard to art is due to its excellent synthesis of the forms of artistic expression of its time : the vigorous pallet of Michel-Angel and Titien, the dramatic aspect of the representations of the beginning of the Baroque, slimming and deformation of the silhouettes of the mannerism.

It is also regarded as one of the precursor of the Baroque and its influence is also exerted on Spanish painting by the intermediary of Gréco which was undoubtedly its pupil, it extends to the impressionists and Cézanne which saw in him the inventor of its own ideas. Its name of artist is given to him because of the trade of his father who was a dyer.

One says that it would have worked a time at Titien, which, while discovering the great talent of his pupil would have returned it… It is more probable than it was formed in the workshops of Boniface of Pitabi, Andréa Schiavone or Paris Bordone. With judging some by its control of the treatment of the characters and their environment Tintoret was subject to the influence of Titien and by Michel-Angel but also took as a starting point the the Salviati mannerists and the Parmesan.

The search for a new pictorial form characterizes its first works, its topics are a broad range of the subjects tackled at its time : biblical scenes, legends of saints, representations mythological, historical and allegorical as well as a great number of portraits.

Its first great success is the Miracles of Saint Marc (1548) a great composition of group which already calls in question the principles of harmony of the Rebirth. About 1550 Tintoret receives its first great government orders.

The elements characteristic of its compositions are the use of the large diagonals and the theatrical and dramatic lighting of the scenes. Tintoret had a passion for the effects of light: it carried out wax statues of its models and tried out the orientation of the sources of light before painting them. Consequently, certain faces reappear in various work, under various angles and a different lighting. Suzanne with the Bath (about 1550) Venus and Vulcan (1552) Presentation of the Virgin to the Temple (about 1552). Then Tintoret accentuates the effect of depth, its pallet becomes more chopped and darker, the fabrics are bathed of an obscure atmosphere almost visionary.

In 1565 Tintoret carries out for Scuola large di San Rocco a whole of 65 frescos which is one of the most significant series of all the history of painting. Decoration extends on 2 large rooms on the first floor and at the ground floor, paintings have as a subject of the scenes of the Old Will. Work was carried out mainly between 1577 and 1585.

In these works of impressive size, Tintoret carries out compositions with vertiginous and dynamic spaces and exacerbated torsions where clearly-obscure ghostly and dramatic dominates. The expressivity of the colors and returned light still progress in fabrics like Christ to the Garden of the Olive-trees and the laws of gravity seem abolished.

In the years 1580 it completes its work of Palazzo Ducale of Venice, the Paradise (1588) is its larger fabric ever carried out (7 X 22 m). The Cène Last realized in 1592-1594 for the church San Giorgio Maggiore constitutes the major work of its last years but also the sum of all its artistic research. It is a remarkable synthesis between the depth of space, a harmonious fitting of the characters and a geometrical and decorative surface division of the fabric. The colors are absorbed by the light and the sight leaves the center of the table. The human silhouettes are crushed by the appearance of ghostly beings. The scene occurs in a dark popular tavern, where the aureoles of the saints bring a strange light which underlines incongruous details. The tone is resolutely baroque.

Tintoret also carried out many portraits of which more completed is its self-portrait of the end of its life (about 1588). It is deceased on May 31, 1594 in Venice. It never left this city thus contributing to do of Venice one of the largest towns of art of XVIe century.