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Tintoretto
The Slaughter of the Innocents
1582-87
Oil on canvas,
422 x 546 cm
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Tintoretto
St Mary Magdalen
1582-87
Oil on canvas,
425 x 209 cm
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Tintoretto
St Mary of Egypt
1582-87
Oil on canvas,
425 x 211 cm
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Tintoretto
The Circumcision
c. 1587
Oil on canvas,
440 x 482 cm
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Tintoretto
The Deliverance of Arsinoe
c. 1560
Oil on canvas,
153 x 251 cm
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Tintoretto
Portrait of Doge Pietro Loredano
c. 1570
Oil on canvas,
127 x 100 cm
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Tintoretto
Man in Armour
c. 1550
Oil on canvas,
116 x 98 cm
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Tintoretto
Man with a Golden Lace
1550-60
Oil on canvas,
103 x 76 cm
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Tintoretto
Portrait of Vincenzo Morosini
c. 1580
Oil on canvas,
84,5 x 51,5 cm
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Tintoretto
Portrait of a Woman Revealing her Breasts
c. 1570
Oil on canvas,
61 x 55 cm
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Tintoretto
Portrait of Jacopo Soranzo
c. 1550
Oil on canvas,
106 x 89 cm
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Tintoretto
The Miracle of St Mark Freeing the Slave
1548
Oil on canvas,
415 x 541 cm
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Tintoretto
The Stealing of the Dead Body of St Mark
1562-66
Oil on canvas,
398 x 315 cm
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Tintoretto
The Bathing Susanna
1560-62
Oil on canvas,
146,6 x 193,6 cm
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Tintoretto
Vulcanus Takes Mars and Venus Unawares
Oil on canvas,
135 x 198 cm
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Tintoretto
Vulcanus Takes Mars and Venus Unawares
Oil on canvas,
135 x 198 cm
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Tintoretto
Tho Origin of the Milky Way
mk86
c.1575-1580
Oil on canvas
148x165.1cm
London,National Gallery
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Tintoretto
St George and the Dragon
mk86
c.1550-1560
Oil on canvas
157x100cm
London,National Gallery
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Tintoretto
Christ with Mary and Martha
mk86
c.1580
Oil on canvas
200x132cm
Munich,Bayerische Staats-gamalesammlungen,Alte Pinakothek
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Tintoretto
Vulcan Suuprises Venus and Mars
mk86
c.1555
Oil on canvas
135x198cm
Munich,Bayerische Staatsgemaldesammlungen,
Alte Pinakothek
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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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