Tintoretto

Italian Mannerist Painter, ca.1518-1594 His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.


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Tintoretto The Slaughter of the Innocents oil


The Slaughter of the Innocents
Painting ID::  32697
The Slaughter of the Innocents
1582-87 Oil on canvas, 422 x 546 cm
1582-87 Oil_on_canvas,_ 422_x_546_cm
   
   
     

Tintoretto St Mary Magdalen oil


St Mary Magdalen
Painting ID::  32698
St Mary Magdalen
1582-87 Oil on canvas, 425 x 209 cm
1582-87 Oil_on_canvas, _425_x_209_cm
   
   
     

Tintoretto St Mary of Egypt oil


St Mary of Egypt
Painting ID::  32699
St Mary of Egypt
1582-87 Oil on canvas, 425 x 211 cm
1582-87 Oil_on_canvas, _425_x_211_cm
   
   
     

Tintoretto The Circumcision oil


The Circumcision
Painting ID::  32700
The Circumcision
c. 1587 Oil on canvas, 440 x 482 cm
c._1587 Oil_on_canvas,_ 440_x_482_cm
   
   
     

Tintoretto The Deliverance of Arsinoe oil


The Deliverance of Arsinoe
Painting ID::  32701
The Deliverance of Arsinoe
c. 1560 Oil on canvas, 153 x 251 cm
c._1560 Oil_on_canvas,_ 153_x_251_cm
   
   
     

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     Tintoretto
     Italian Mannerist Painter, ca.1518-1594 His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.

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