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 La ultima Cena oil


La ultima Cena
Painting ID::  96790
La ultima Cena
1547.(1547.) Medium oil on canvas cyf
1547.(1547.)_ Medium_oil_on_canvas_ cyf
   
   
     

Tintoretto Verkundigung oil


Verkundigung
Painting ID::  97741
Verkundigung
1576-1581 Medium oil on canvas Dimensions Deutsch: 542 x 440 cm cyf
   
   
     

Tintoretto Allegory with a portrait of a Venetian senator oil


Allegory with a portrait of a Venetian senator
Painting ID::  97839
Allegory with a portrait of a Venetian senator
1580s Medium oil on panel Dimensions 175.5 cm cyf
1580s_ Medium_oil_on_panel_ Dimensions_175.5_cm__ cyf
   
   
     

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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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