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Jacopo Tintoretto. Pictures and biography of the master of the Venetian school of the XVI century

The words "Italian Renaissance" sound like music even for a beginner art lover. The Venetian Painting School is one of the most expressive motifs in it. A powerful, bright chord of this melody is the work of Tintoretto. The paintings of this master are the final, the highest stage of the artistic Renaissance of Venice.

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The life of Tintoretto is full of mysteries. Even the true name of this artist remained a mystery for a long time. In 1518 in Venice, in the family of fabric dyers Giovanni Robusti ( tintoretto means "little dyer"), the son of Jacopo was born. Not so long ago, experts from the Madrid Prado Museum found documents that indicate the real family name of the artist's name - Comin (that's what the spicy cumin is called in the local dialect). Robusti ( robusto - strong) - the nickname of the artist's father, deserved by him in the battles for the Venetian Republic. Later, to the nickname Tintoretto began to add the epithet Il Furioso - a fierce, precisely defining both the master's creations, and the process of creating them.

The first canvases for Jacopo Comina were the walls of the dyeing, and, seeing the creation of his son, Robusti took him to study to the great Titian. There is a legend that, realizing the scale of Tintoretto's talent, the master in a fit of jealousy drove him away, fearing the future competitor. It is doubtful. Most likely, Titian realized that an unruly young man would become a great artist, but he could not be a good student.

It is not known who was trained by Tintoretto. He wrote the pictures following the motto inscribed on the studio wall: "Il disegno di Michelangelo ed il colorito di Tiziano", which means "Michelangelo's Figure and the color of Titian". But the first significant work showed that along with the development of the artistic traditions of the Renaissance Titans, they clearly see the search for their own path.

"The Miracle of St. Mark" (1548)

A Christian slave without a master's permission made a pilgrimage to the relics of St. Mark and entrusted his soul and body. And when the master decided to punish the slave first, then quartered, St. Mark appeared from heaven and gave the body of the youth a magic invulnerability. Swords and axes break down on invisible armor, and this causes fear and trembling in a large crowd.

A multi-figured composition of plastically accurately worked characters is permeated with an unprecedented movement of time and space. Tintoretto invites to his canvas a huge Venetian crowd, where you can see guests from different countries, representatives of different classes. The active line, powerful colors, free movement of the brush in the light accents of the folds of clothing - all this destroys the harmonious tranquility of the Renaissance, gives rise to new promises of Mannerism and the future of Baroque.

Il Furioso Tintoretto

The master's legacy is enormous. At the same time, many paintings for half a millennium are irretrievably lost. The passion for work was so fierce that he paid little attention to the amount of compensation, just to get new orders. Many contemporaries and art historians of subsequent generations have noted the unevenness of the created Tintoretto. Pictures of a huge size on the biblical stories contain traces of visible haste. But the power of emotions, pulsating in every detail, and in the overall design, in its embodiment, was recognized by all.

He was a true Renaissance man. He painted walls and plafonds of ceilings of churches and public buildings in Venice and the surrounding area. His brushes also belong to huge paintings on religious subjects, and chamber paintings with mythological subjects. Preparing for new orders, he sculpted wax models, dressed them and looked for the most expressive angles. He persistently experimented with light, working long candlelight nights.

"Paradise" (1588)

Created for decoration of the main hall of the Doge's Palace , Tintoretto's painting "Paradise" measures 7 meters in height and 22 meters in width. It is considered the world's largest art work of oil painting on canvas. "Paradise" amazes with the author's infinite imagination, the skill of drawing and the freedom of color solution.

Some characters are worked out minimally and get physical disembodied, lost in a huge crowd of characters. This was considered completely unacceptable to the masters of the High Renaissance. But the colossal energy component, the swirling motion of colors and lines, belongs to a new stage in the development of painting.

A new look at the classic storyline

One of the last masterpieces of the master - the painting Tintoretto "The Last Supper" - was written in 1592. This last appeal of the artist to the popular story, and it is less like the classic creation of the Renaissance. The dynamic foreshortening of the table, behind which Christ and the apostles sit, personifies the boundary between the spiritual and the real world. The foreground is filled with absolutely earthly details and characters, and the world of the mountains is depicted by means unprecedented until then. The mystical light, radiated by the Lord and his disciples, snatches in the space of the picture the figures of the inhabitants of the other world. Both worlds are intertwined, giving birth to amazing emotions.

Painting Tintoretto "The Last Supper" by some researchers refers to the final thing, showing the highest level of his artistic skill, at the same time bearing the greatest signs of Mannerism in the work of the master.

Two self-portraits

Between the two most famous self-portraits is the whole life of the master. In the picture of 1547, we see an attentive, slightly detached young look of a man who is aware of his talent. He does not have time to talk, he is waiting for a long, inspired work.

On the self-portrait of 1588 - the artist Tintoretto, whose paintings adorn many palaces of Venice. His gaze is still somewhere in the distance. He was immensely tired, he experienced fame and loss. He leaves, but leaves the fruits of great labor and high inspiration - the wisdom and beauty of his paintings.

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