216:, who was quite possibly the greatest of his own time within Venice and extremely well-renowned. A worthy pupil who was in command of otherworldly skill or in contact with wealthy and influential patrons could find refuge and experience from the workshop of the most well-known painter of his time. This pupil proved to be Tintoretto. Written records during this period confirm to us that teacher and student clashed regularly, while hinting at the fact that Titian may have been envious of the young boy due to his raw natural talent. It is true that brilliant minds may not be the most understanding, and an insensitive person is more prone to making enemies which may easily cause the destruction of a productive work atmosphere. A master craftsman could have quickly become impartial to a student wise or advanced beyond their years.
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further support the suspicion of jealousy within Titian's workshop, it was known that
Tintoretto never received praise or recognition from Titian until the master saw his work unsigned and displayed openly. Clearly, Titian must have possessed motives unbeknownst to us because he had more commissions than he could ever tend to, and having an aide such as Tintoretto would have been extremely invaluable when patrons became weary of waiting for their artwork. This motive or motives may never see the light of day due to Ridolfi never learning them, and no record of that time remains.
212:, who was born around the same time frame as Tintoretto's death near the end of the 16th century, would write a biography of Tintoretto. He revealed that Tintoretto had begun to practice drawing at an extremely early point in his life. He used the products and materials that his father already possessed within his line of work in order to give his works the colour they required. The fact that Tintoretto possessed uncanny prowess and talent at such an early stage in his life is proven by how he was able to study closely under
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It can be assumed that most painters who have graced
Tintoretto's more advanced age when receiving a project on such a scale as the Doge's Palace was, would have hesitated. The massive nature of the masterpiece demanded aggressive physical labour in order to make any notable progress. Tintoretto was
242:
during their gatherings. Various artists received detailed directions on content and composition, with the central thought being the recreation of the visual aspects of the destroyed work. The main goal was to imitate the aesthetic power of the destroyed artwork as closely as possible. A competition
219:
Elaborating with gorgeous detail, Ridolfi tells us of times when
Tintoretto was at work with Titian in his workshop. Tintoretto was said to have been able to copy his instructor's art so pristinely that this was enough reason to cause Titian to cast him out of the very studio without a word more. To
306:
Tintoretto himself painted several generous portions of ceiling panel just for the intricate project. His additions put emphasis on the city of Venice's unique political structure, and showcased its civil rights, military prowess and achievements. This was whilst also celebrating the city's unique
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were removed, giving more power to the image of Christ being superior to Mary. However, both figures had to be included in order to remain true to the theme of paradise that was demonstrated in
Guariento's original work. Multitudinous crowds of angels as well as
527:
596:
Hall, Miles. “Tintoretto at the
National Gallery, DC - Lucid: A Richmond Based Review For the Visual Arts.” Lucid, June 10, 2019. https://www.lucidrva.com/tintoretto-at-the-national-gallery-dc .
820:
204:. Little to nothing is known about the childhood of Jacopo because his father's business as a dyer was not significant enough to be well documented. The boy was known to his peers as
593:
DiPalma, Jessica, and Molly Enholm. “Jacopo
Tintoretto Artworks & Famous Paintings.” The Art Story, July 16, 2019. https://www.theartstory.org/artist/tintoretto/artworks/ .
255:. Tintoretto presented two sketches, both unlike the final version; this was his last major work and it was completed mostly by his workshop under the direction of his son,
154:
holding out the scales of justice. The order of the celestial hierarchy is respected: the evangelists appear in a semi-circle immediately beneath the main scene, with the
103:
Many of
Tintoretto's works were too vital to their location or too large in size to relocate to other exhibits, which is why many of them remain based in Venice, Italy.
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able to finish an example diagram of the final work but was unable to carry out the task of completing the final work in full. Echols and
Ilchman explain in their book
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259:. This gigantic canvas—one of the world's largest paintings, almost 25 metres (82 ft) long—was painted in sections, in the large main hall of the
197:
580:
Seven
Lectures on the Elements of Sculpture. Given at the University of Oxford, 1870; Lecture VII: "The Relation Between Michael Angelo and Tintoret"
100:
said, "I have no hesitation in asserting this picture to be by far the most precious work of art of any kind whatsoever, now existing in the world."
303:, " lacked the strength to climb up and down the scaffolding and put the final touches on his canvas. So he passed that task on to Domenico."
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295:. This served as a reminder to council attendees to be mindful of their actions and morals as there will be consequences in the end.
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were chosen to complete the enormous artwork in tandem, but
Veronese died before the work began and the commission was reassigned to
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form of government, touted civic freedom, and exemplifying Venice's equality within the Holy Roman Empire and the papacy as well.
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62:. It is one of the largest paintings on canvas in the world and was painted by Jacopo Robusti, known more commonly as
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180:, allowing the souls of the Just to ascend (with the assistance of angels) and God's Grace to descend upon the
85:, allowing the souls of the Just to ascend (with the assistance of angels) and God's Grace to descend upon the
66:. The painting features a heavenly scene with depictions of various religious figures such as the portrayal of
248:
238:. The painting was situated behind the throne on which the doge and wealthy aristocrats took seats among the
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of 7 stars. The divine light emanates not from the dove of the Holy Spirit but from the figure of
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to replace the damaged painting was held. The contestants submitted highly varied sketches.
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415:""The Tortoise of Aegina": An Undelivered Lecture in Continuation of "Aratra Pentelici""
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In 1577, a fire destroyed part of the Doge's Palace, including a 14th-century fresco by
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Around two decades into the 16th century, a cloth dyer in Venice, Italy by the name of
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590:, edited by T. Leman Hare, 1–2. Masterpieces in Color. Project Gutenberg, n.d.
19:
This article is about the painting. For the section of the Divine Comedy, see
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188:. The composition is crowded with around 500 figures, depicted in detail.
93:. The composition is crowded with around 500 figures, depicted in detail.
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Ruskin, John (2010), Cook, Edward Tyas; Wedderburn, Alexander (eds.),
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184:. At the centre of this path is the radiant figure of a semi-veiled
89:. At the centre of this path is the radiant figure of a semi-veiled
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From the centre of the stage, a path of light opens up towards the
158:
aligned in the same order in which they figure in church litanies.
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From the centre of the stage, a path of light opens up towards the
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a 2021 thriller by Rob Samborn, published by TouchPoint Press.
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421:, Cambridge: Cambridge University Press, pp. 381–389,
463:"Bensusan, Samuel Levy, (29 Sept. 1872–11 Dec. 1958), JP"
130:
that had figured in the previous fresco was present: the
169:(whose celebration day is October 7, the date of the
74:(whose celebration day is October 7, the date of the
560:"The Prisoner of Paradise (The Paradise Series, #1)"
146:the Judge, shown holding a globe surmounted by a
114:portrays the scene surmounted by the dove of the
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161:Historical references include the portrayal of
52:on canvas that dominates the main hall of the
622:
387:
118:and raised upon a dense semicircular rank of
506:10.1093/benz/9780199773787.article.b00183123
388:Echols, Robert; Ilchman, Frederick (2018).
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615:
280:, who was secondary and depictions of the
601:Tintoretto: Artist of Renaissance Venice
390:Tintoretto: Artist of Renaissance Venice
301:Tintoretto: Artist of Renaissance Venice
31:
599:Echols, Robert, and Frederick Ilchman.
500:, Oxford University Press, 2011-10-31,
469:, Oxford University Press, 2007-12-01,
1135:
1048:Saint Mark series (1548 or 1562–1566)
837:Portrait of Queen Christina of Denmark
412:
200:conceived a son who would be known as
16:Fresco by Tintoretto, in Doge's Palace
738:Portrait of Procurator Jacopo Soranzo
610:
392:. Yale University Press. p. 38.
310:
522:
520:
475:10.1093/ww/9780199540884.013.u234665
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455:
453:
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1067:Saint Mark's Body Brought to Venice
899:Saint Mark's Body Brought to Venice
13:
813:Mars and Venus Surprised by Vulcan
677:Christ Washing the Disciples' Feet
289:intentionally evoke the idea of a
112:The Virgin Interceding with Christ
14:
1179:
1060:Finding of the Body of Saint Mark
891:Finding of the Body of Saint Mark
586:. “A Knight of Malta.” Essay. In
517:
448:
268:The main premise of Tintoretto's
1168:Paintings of Michael (archangel)
603:. National Gallery of Art, 2018.
365:
356:
347:
338:
907:Portrait of Doge Pietro Loredan
528:"Louvre - Communiqué de presse"
134:is shown holding out a lily to
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552:
486:
406:
381:
1:
1148:Paintings of the Annunciation
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1020:
988:
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911:
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857:
802:
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661:Madonna and Child with Saints
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498:Benezit Dictionary of Artists
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48:is a massive (22 x 9 metres)
25:(If Paradise Is) Half as Nice
984:The Vision of Saint Nicholas
937:Christ at the Sea of Galilee
427:10.1017/cbo9780511696237.011
7:
1097:Marietta Robusti (daughter)
945:The Origin of the Milky Way
845:Saint George and the Dragon
106:
10:
1184:
1102:Scuola Grande di San Rocco
953:Bacchus, Venus and Ariadne
868:Portrait of Alvise Cornaro
853:The Deliverance of Arsinoe
821:Presentation at the Temple
783:Presentation of the Virgin
768:Joseph and Potiphar's Wife
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324:is the titular subject of
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18:
1092:Domenico Tintoretto (son)
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1041:
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326:The Prisoner of Paradise,
262:Scuola della Misericordia
150:; to his left stands the
39:(1588-1592) by Tintoretto
753:Assumption of the Virgin
419:The Works of John Ruskin
374:
235:Coronation of the Virgin
1143:Paintings by Tintoretto
669:Esther Before Ahasuerus
126:. The reference to the
59:Great Council of Venice
1110:(studio of Tintoretto)
829:Susanna and the Elders
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1108:Judith and Holofernes
1075:Fasti of the Gonzagas
584:Bensusan, Samuel Levy
35:
1053:Miracle of the Slave
494:"Tintoretto, Jacopo"
23:. For the song, see
1121:formerly attributed
56:, which hosted the
37:Gloria del Paradiso
1153:Paintings of Jesus
653:The Siege of Asola
540:on 28 October 2020
311:In popular culture
165:, patron saint of
138:, depicted with a
70:, patron saint of
41:
1130:
1129:
969:Baptism of Christ
798:Leda and the Swan
578:Aratra Pentelici,
436:978-0-511-69623-7
249:Francesco Bassano
171:Battle of Lepanto
152:Archangel Michael
132:Archangel Gabriel
76:Battle of Lepanto
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533:. Archived from
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198:Battista Robusti
21:Paradiso (Dante)
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848:(1555 or 1558)
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576:Ruskin, John,
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245:Paolo Veronese
232:depicting the
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1007:Self Portrait
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399:9780300230406
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320:Tintoretto's
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292:Last Judgment
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240:Great Council
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210:Carlo Ridolfi
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54:Doge's Palace
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1158:Birds in art
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723:Adam and Eve
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542:. Retrieved
535:the original
509:, retrieved
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488:
478:, retrieved
466:
440:, retrieved
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282:Annunciation
274:Jesus Christ
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128:Annunciation
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57:
50:oil painting
44:
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29:
1117: 1577
1077:(1578–1580)
1034:(1592–1594)
1031:Last Supper
1024: 1588
999:Il Paradiso
992: 1582
977: 1580
956:(1576–1577)
948:(1575–1580)
930: 1570
915: 1567
902:(1562–1566)
894:(1562–1566)
883:Crucifixion
876: 1560
861: 1560
840:(1555–1556)
832:(1555–1556)
824:(1554–1556)
816:(1551–1554)
806: 1550
791: 1551
776: 1555
761: 1555
746: 1550
731: 1550
716: 1550
701: 1550
685: 1548
672:(1546–1547)
664:(1545–1546)
656:(1544–1545)
467:Who Was Who
116:Holy Spirit
98:John Ruskin
45:Il Paradiso
1137:Categories
1015:Visitation
692:Visitation
638:Tintoretto
588:Tintoretto
571:References
511:2020-11-21
480:2020-11-21
442:2020-11-21
316:Literature
253:Tintoretto
206:Tintoretto
192:Influences
64:Tintoretto
961:The Muses
694:(Bologna)
645:Paintings
230:Guariento
186:Archangel
91:Archangel
1017:(Venice)
544:17 April
322:Paradise
270:Paradise
257:Domenico
178:Empyrean
124:seraphim
120:cherubim
107:Painting
83:Empyrean
1085:Related
940:(1570s)
332:Gallery
224:History
163:Justina
96:Of it,
68:Justina
1010:(1588)
1002:(1588)
964:(1578)
917:–1570)
886:(1565)
878:–1565)
808:–1560)
793:–1556)
433:
396:
287:saints
214:Titian
156:saints
144:Christ
922:Danaë
538:(PDF)
531:(PDF)
375:Notes
167:Padua
148:cross
72:Padua
546:2020
431:ISBN
394:ISBN
278:Mary
272:was
247:and
182:Doge
140:halo
136:Mary
122:and
87:Doge
1119:) (
502:doi
471:doi
423:doi
173:).
78:).
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1021:c.
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858:c.
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773:c.
758:c.
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728:c.
713:c.
698:c.
682:c.
519:^
496:,
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450:^
429:,
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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