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Tintoretto
Susanna at he Bath
mk86
c.1565
Oil on canvas
147x194cm
Vienna,Kunsthistorisches Museum
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Tintoretto
The Birth of St John the Baptist
mk91
1550s
Oil on canvas
181x266
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Tintoretto
The communion
mk137
1592-1594 oil on linen 365x568cm San Giorgio Maggiore, Venice
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Tintoretto
Lorenzo Soranzo
mk150
1553
Canvas
114x95.5cm
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Tintoretto
Susanna and the elders
mk150
c.1555/6
Canvas
146.6x193.6cm
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Tintoretto
Flagellation of Christ
mk150
c.1585/90
Canvas
118.3x106cm
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Tintoretto
The Bathing Susama
mk156
1560-62
Oil on canvas
146.6x193.6cm
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Tintoretto
Crucifixion
mk156
1565
Oil on canvas
536x1224cm
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Tintoretto
Christ in the House of Mary and Martha
mk156
c.1580
Oil on canvas
197.5x131cm
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Tintoretto
The Birth of St John the Baptist
mk159
early 1550s
Oil on canvas
181x266cm
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Tintoretto
The Painted over portrait of Marino Falier,Sala del Maggior Consiglio
mk157
Venice
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Tintoretto
San Roch
mk157
1583-57
Scuola Grande di San Rocco
Venice
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Tintoretto
The Finding of Moses
mk161
Oil on canvas
30x52
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Tintoretto
Kruisiging
MK169
1565 Cloth 5.36x12.3m Suola Tue San Rocco Venetie
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Tintoretto
St. George and the Dragon
1555-58
Oil on canvas,
157.5 x 100.3 cm
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Tintoretto
Women Playing Music
Oil on canvas,
142 x 214 cm
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Tintoretto
Ariadne, Venus and Bacchus
1576
Oil on canvas,
146 x 157 cm
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Tintoretto
Esther before Ahasuerus
Oil on canvas,
207,4 x 273 cm
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Tintoretto
The Last Supper
mk176
1592-94
Oil on canvas
365.7x568.9cm
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Tintoretto
The festival of the Belschazzar
MK186
around
1541/42
Verona Museo di Castelvecchio
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| Tintoretto
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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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