Jacopo Robusti was a student of Titian and went by the name of Tintoretto - He combined the colors in Titian's works with Michelangelo's drawing prowess. Tintoretto is often referred to as the outstanding Venetian representative of Mannerism. Mannerism was an art style that arose in sixteenth century Italy in which the art did not try to conceal its manmade limitations. Mannerist works openly displayed imbalanced compositions, unusual complexities, and ambiguous space.
Tintoretto painted a Last Supper in Jesus mingles the crows of apostles. On Christ's right, the thief who by tradition repents, is shown looking at his savior while his cross is raised, symbolically suggesting his ascent to Heaven.
Conversely, on Christ's left, the man who did not accept Christ, looks away while the executioners begin to nail his body to the cross.
Surrounding the main events of this biblical scene, soldiers and other well-dressed figures on horses provide witness to the event, as would the elite members of the confraternity allowed admittance into the hall to view the actual masterpiece. Created specifically for the boardroom of the Scuola Grande di San Rocco, it is one of the earliest works Tintoretto painted for the confraternity, which would ultimately number approximately 50 paintings completed over the course of more than two decades.
While the Crucifixion was a popular subject for artists throughout this period of Western history, Tintoretto distinguishes himself here by presenting one of the most theatrical and densely populated renderings of this subject. Reminiscent of Michelangelo's iconic fresco depicting The Last Judgment on the altar wall within the Sistine Chapel, Tintoretto's "Crucifixion" reveals the influence of the Renaissance master in both composition and approach to the human form.
As with his predecessor, Tintoretto's figures are full of movement offering a virtuoso display of technique and foreshortening. The tumultuous action of the earthbound figures, which is characteristic of Tintoretto's style, provides a dramatically sharp contrast to the still figure of Christ, depicted in Majesty surrounded with a glowing halo, as he approaches death.
For the devout artist, this was a divine moment which represented his own salvation. One of four paintings based on the myth of Hercules, Tintoretto's The Origin of the Milky Way depicts the god Jupiter bringing his son, born of a mortal woman, to nurse from the breast of his wife, the goddess Juno. In a composition which anticipates the drama of Baroque painting, the artist creates a scene of flustered activity depicting the moment Juno awakens to discover Jupiter's deceit.
According to myth, the infant Heracles would obtain immortality through breastfeeding from the goddess. However, as she awakes, Juno draws away in anger causing her milk to spray across the sky, thus forming the Milky Way indicated by an array of stars. From her other breast, milk falls toward Earth resulting in the creation of beautiful lilies, believed to be part of the original composition later trimmed down. Below the immortal couple, numerous cupids with bows drawn, symbolize the marital discord and its universal consequences.
The work provides visible proof of Tintoretto's skill as both a draughtsman and colorist. The foreshortening of Jupiter is reminiscent of Giotto's groundbreaking frescos in the Arena Chapel, the muscular Juno the influence of Michelangelo, but the rhythmic arrangement of figures is uniquely Tintoretto.
Nichols describes how the expert use of color in both the figures and attire relates to Tintoretto's childhood exposure to pigments in his father's workshop as a cloth dyer. He writes, "immediately noticeable are the range and quality of the pigments used: the composition is built up from a carefully variegated palette which moves from intense blue to grey in the sky, and from white and gold through to orange, pink and scarlet in the draperies.
This particular series of paintings, commissioned from Rudolf II, the Holy Roman Emperor and King of Hungary, is an important indication of the progressive artist's popularity beyond Italy. Interestingly, some mystery surrounds the original impetus for this painting. Some scholars believe it was first painted as a commission for the "grand guardian" of the Scuola Grande di San Marco, Tommaso Rangone, who had commissioned other notable works from the artist, including Finding the Body of Saint Mark.
After Rangone's death, the artist reconfigured this painting for the Emperor. In this visualization of the Old Testament story, Tintoretto portrays a scene from the book of Numbers which states, "then Moses raised his arm and struck the rock twice with his staff. Water gushed out, and the community and their livestock drank. In the foreground of the composition a throng of people rushes towards the water, attempting to fill their vessels and bowls. Watching over the scene in the upper right corner of the composition is a dramatically foreshortened depiction of God.
Separating the heavenly realm from this miracle is a prophetic vision; the Israelites are under attack in an act foreshadowing the trials that God's people will face. Characteristic of Tintoretto's mature style, here as in so many of his paintings, the artist renders the story in the moment of highest drama. The powerful tenebrism, or contrast between light and dark, symbolically contrasts the light from heaven against the earthly figures in darkness below, as well as serving to illuminate Moses who stands nearly central in the composition.
The feeling of movement is accented by Tintoretto's sketch-like quality, for which he remains best known, and the depiction of strong muscular bodies contorted in a variety of positions to increase the overall theatrical effect of the scene. This painting is one of a series of three ceiling works featuring stories from the Old Testament completed for the Scuola Grande di San Rocco where he, once again, demonstrated his ability to push beyond tradition.
According to Echols and Ilchman, unlike what had done in prior ceiling paintings, Tintoretto's, " In Tintoretto's epic painting Paradiso or Paradise , Christ and his mother Mary are depicted in a circle of golden light at the top center of the canvas. They look down upon concentric rings of clouds occupied by saints, angels, and bodies resurrected from their graves who look up towards heaven.
Venice, although separate from the Papal States was not immune to influence from Central Italy. The canvas is approximately five by twelve meters, easily covering the wall of the small room it is installed in.
Battista Torniello, the Guardian Grande of the Scuola Grande di San Rocco called for a decoration of the Albergo one day and assigned Girolama Roto to form a committee to choose an artist. The committee decided, in traditional Italian Renaissance fashion, to make a contest of it. However, the judges were impressed with the financial and religious advantages to receiving free paintings and begrudgingly accepted his offer De Maria , His dubious business 3.
The Scuole Grande di San Rocco is one of the few scuole to have its collection more or less in tact which gives us the privilege of seeing the entire iconographic program as the confraternity meant us to see it Valcanover , 3. This fairly unified program reflects fact that the decoration of the albergo was not the result of individual patrons, but decided on by a committee and paid for with Scuola funds. As you enter the room, the Crucifixion confronts you, completely filling your vision, while Ascent to Calvary, the Crowning of the Thorns, and Christ Before Pilate are visible as you only as you are leaving.
Oddly enough Tintoretto renders the events in reverse order forcing the viewer to interpret the events backwards, from right to left Valcanover , Two prophets flank the room, one looking forward toward the Crucifixion and the other looking backwards at the rest of the Passion. These prophets continue the theme of observation and audience involvement that is present in the Crucifixion. They model the reverence which a viewer is expected to feel when looking at the Crucifixion.
They also create a visual connection between the Crucifixion and the Passion images. In the very center dominating the ceiling is the painting of the Glorification of St. The saint of the Scuola Grande di San Rocco is an appropriate focal point for the ceiling. On each corner of the row surrounding St Roch are cherubs representing the four seasons.
Between those are images of allegories of the Scuole Grandi of Venice. This theme breaks with the traditional culture of artistic competition among the Scuole Grandi De Maria , The Scuole Grande di San Rocco pays homage 4. Dispersed among the allegories are the cardinal virtues: truth, faith, happiness, generosity, and goodness, along with two unidentified figures Vancanover , These are virtues members of a lay confraternity are expected to model themselves after.
In this painting, Christ looms over the landscape as a quiet observer to the various groups engaging in frenzied activity below him. Off-balanced poses and twisting robes denote action and intense activity. Christ is simultaneously separate from the action and the center of it. Although he hovers in apparent isolation, high above the crowds, all forces converge at the crucifix. The lines of rope grow taught in his direction.
Trees are pulled toward Christ by the stormy winds. Lines create space and unity on the surface of this otherwise spaciously confusing painting Rosand , The weather itself seems to engage with his plight as dark clouds gather in the background and overshadow the proceedings.
Yet through all the action Christ acts as a beacon of tranquility and strength. He does not sag on the cross in defeat, but has straight posture. His sculpted body also shows great physical strength. The whole painting is illuminated by supernatural radiance, 5. Tintoretto uses a disruption of time and space to accommodate narrative elements and to further include the viewer directly in the action.
The good thief stares upwards at Christ having been enlightened while the bad thief twists away from the savior. A man prepares to feed Christ vinegar when he asks for water. Catholics relate to and identify themselves with holy and divine people.
To bring closeness to the story and relate it with the times, Tintoretto incorporated specific elements to the piece. As a result, Tintoretto depicted a biblical image that is uniquely Catholic. He encouraged personal identification with Jesus, the disciples, and the last supper. This was done by incorporating the servants into the image and encouraging a personal environment. There are elements found in The Last Supper that caused criticism.
Some have criticized this piece due to inaccuracies. However, these inaccuracies are allowed by the Council of Trent. It was done purposely by the artist to dispel controversies about the meaning of Communion. This includes rules of nature and fundamental foundations of Catholicism. Such criticism and inaccuracies include Judas and the fact that he could not be found and there is no clear arrangement of twelve disciples.
As a result, the piece lacks realism. This allows the painting to depict more than Jesus and The Last Supper ; it represents spirituality, comradery, and life, both heavenly and earthly.
Although Tintoretto lived in a time that was dominated by religious art, ironically Tintoretto was observed painting biblical paintings even before the Council of Trent in This is important to understanding the artist. Consequently, he illustrated Biblical stories not because of law or initiatives. Tintoretto did this because of his love for his religion and his devotion to his art. His work, as seen in The Last Supper and others, it shows Tintoretto as a classic religious artist of his time.
Albury, W, and G Weisz. Lewis, R, and S Lewis. The Power of Art. Belmont, CA: Thomas Wadsworth,
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