Tintoretto at the Prado

Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1594) is an old master of the very highest calibre, whose sharp visual intelligence and brilliant oil technique provides a match for any painter of any time. Based on papers given at a conference held at Keble College, Oxford, to mark the quincentenary of Tintoretto’s birth, this volume comprises ten new essays written by an international range of scholars that open many fresh perspectives on this remarkable Venetian painter. Reflecting current ‘hot spots’ in Tintoretto studies, and suggesting fruitful avenues for future research, chapters explore aspects of the artist’s professional and social identity; his graphic oeuvre and workshop practice; his secular and sacred works in their cultural context; and the emergent artistic personality of his painter-son Domenico. Building upon the opening-up of the Tintoretto phenomenon to less fixed or partial viewpoints in recent years, this volume reveals the great master’s painting practice as excitingly experimental, dynamic, open-ended, and original.

Aspects of Problems in Western Art History, 2022

Early Music 50, no. 1 [Special issue: Early Music at 50; Music Gender and the Erotic in Italian Visual Culture of the 16th Century], 2023

The vague mythological context of Jacopo Tintoretto’s Women Making Music has puzzled scholars, resulting in little consensus regarding the allegorical meaning of the work. In this article, I explore how the painting blurs lines between painting as performance, and music-making as visual experience, resulting in a painted performable image. By using the partbooks depicted in the painting as interpretative clues, I note a shift away from early 16th-century associations between painting, music and reason towards a celebration of manual, sensory and embodied acts. This interpretation requires the viewer to identify the songs through a combined strategy of seeing and singing, with the painting sounding differently depending on which music the viewer performs: the intricate and elevated madrigal or the sensually pleasing canzona. Seen thus, the painting blurs lines between painting and music, visual and aural, object and performance, introducing an element of ‘play’ that decentres any one allegorical meaning.

Jacopo Tintoretto. Proceedings of the International Symposium Jacopo Tintoretto, Madrid, Museo del Prado, 26-27 February, 2007, 2009

The great Venetian painter Jacopo Tintoretto has never received a satisfactory catalogue raisonné. The landmark effort by Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane, (1982), while essential, is distorted by the inclusion of more than 100 weak and derivative paintings that are more appropriately attributable to Tintoretto associates and followers. This paper reviews the historiography of Tintoretto attribution and analyzes the standards that should be applied in developing a new catalogue that will better illuminate his accomplishments. The themes of the Last Supper and the Concert of the Muses are discussed in depth as examples of how mistaken attribution and dating have distorted scholars' understanding of Tintoretto's iconography and compositional techniques. A checklist of "The religious and narrative paintings of Jacopo Tintoretto" is included as an appendix, along with supplemental checklists of other works attributable to the Tintoretto workshop and the "circle of Tintoretto."

Revista de História da Arte e Arqueologia, 2015

Jean-Paul Sartre, filósofo e intelectual estruturalista francês morto em 1980, tinha um especial apreço pela itália, e em suas viagens àquele país, principalmente quando visitava Veneza, deixava-se levar pelo encantamento que lhe causava a obra de Tintoretto, sobre quem um dia pretendeu escrever uma obra de fôlego que, contudo, nunca chegou a terminar. este artigo trata justamente dos escritos fragmentados de Sartre sobre o pintor vêneto, compreendendo-os como uma análise estética e fenomenológica que os aproxima dos escritos de Merleau-Ponty sobre Paul Cézanne e de Deleuze sobre Francis Bacon. ABSTRACT Jean-Paul Sartre, a French structuralist philosopher and intellectual who died in 1980, had a special appreciation for Italy, and on his travels to that country, especially when visiting Venice, he always let himself be carried away by the enchantment caused by the work of Tintoretto, on whom a day he meant to write an extensive work which, however, never got to finish. This article treats precisely the fragmentary writings of Sartre on the Venetian painter, understood it as an aesthetic and phenomenological analysis that approximates Sartre to the writings of Merleau-Ponty on Paul Cézanne and Deleuze on Francis Bacon.

Venice in Blue, 2024

The Burlington Magazine 162, no. 1408, pp. 570-578, 2020

A of art seized by Napoleon from Italian collections that remain in the Musée du Louvre, Paris, is a painting by Jacopo Tintoretto (1518/19-94) usually known as Paradise, but more accurately described as a Coronation of the Virgin (Fig.2). It arrived at the Louvre on 27th July 1798, having been removed on 18th May of the preceding year from Palazzo Bevilacqua, Verona. 1 The work is usually associated with the enormous painting of Paradise in the Sala del Ma ior Consiglio in Palazzo Ducale, Venice, undertaken by Tintoretto between 1588 and 1592 with substantial assistance from his son Domenico (1560-1635), a link made by, among others, Carlo Ridol in his biography of Jacopo (1642). 2 However, a newly identi ed description of the collections in Palazzo Bevilacqua reveals that the Louvre painting arrived in Verona before Tintoretto and his son began working on the Palazzo Ducale Paradise. The Louvre painting was listed in an inventory of the worldly goods, the Inventarium bonorum, of the celebrated collector and patron of the arts Mario Bevilacqua (1536-93; Fig.1), 3 drawn up on 5th August 1593. 4 According to this document, the work-described as 'a large painting of a paradise with a gold frame' ('un paradiso in quadro grande cornisato à oro')-hung in the 'sala della galleria' of Palazzo Bevilacqua, together 1. Mario Bevilacqua. Late sixteenth century. Oil on paper mounted on panel, 12.7 by 9.9 cm. (Kunsthistorisches Museum, Vienna).

1954

Fontes Artis Musicae, 2020