DOI Page / Citation link:
https://doi.org/10.11588/diglit.48088#0484
TINTORETTO.
The most important among the first generation of Titian’s scholars is Paris Bordone, the
Painter of voluptuous female beauty; but among the later inheritors of his art the most pre-
eminent by far is Jacopo Robusti, whose surname of Tintoretto was derived from the handicraft
of his father, a dyer (“tintore.”} He was born at Venice in 1512. Ridolfi relates, that Titian saw
one day in his workshop some very spirited drawings, and enquired by whom they were. On
receiving the answer that they were the work of the dyer’s son, who had come into the atelier
only ten days before, he is said to have given orders to another scholar, to dismiss the youth.
This is only an anecdote. Yet Tintoretto’s art was derived from Titian, whether he profited by
the instruction of the great master for a longer or shorter period. But soon another genius, who
then ruled the age, began to exercise a powerful influence over him. This was Michael Angelo.
Tintoretto’s motto, “the drawing of Michael Angelo, the colouring of Titian,” involves a contra-
diction in itself. Michael Angelo’s plastic .forms and the brilliant colouring of the Venetian,
seem opposing elements in art when regarded by the outer world. And although Tintoretto’s
colouring displays that perfect mastery of the art acquired in his native school, it fails to give
perfect satisfaction, on account of the black shadows which are the consequence of an exaggerated
attempt at modelling. The work is also too hasty, as the Painter frequently lends his art to
the execution of extensive compositions containing a large number of figures. In these pictures
there is a vast amount of machinery, with confused groups; unexpected and bold situations are
presented to view, heaven and earth are set in motion, a storm sweeps over the scene. But his
compositions are often only external forms without that inward inspiration which is penetrated
by artistic grasp of subject, and which constitutes the greatness of Michael Angelo. There is
much constrained foreshortening: many figures are inserted merely to fill up the space, and
realism often drags the artist down to common-place existence.
He died at a great age, in 1594. He had produced during his long life an incredible
number of paintings. His colossal oil pictures on canvas represent the Christian or the heathen
Olympus, in immediate proximity with the stately daily life of Venice. Such pictures abound
in many Churches, in the monasteries, the Schools of St. Mark and of St. Roch, the state
chambers in the Doge’s palace, and the amount of action crowded into the space is always extra-
Art Treasures
17
The most important among the first generation of Titian’s scholars is Paris Bordone, the
Painter of voluptuous female beauty; but among the later inheritors of his art the most pre-
eminent by far is Jacopo Robusti, whose surname of Tintoretto was derived from the handicraft
of his father, a dyer (“tintore.”} He was born at Venice in 1512. Ridolfi relates, that Titian saw
one day in his workshop some very spirited drawings, and enquired by whom they were. On
receiving the answer that they were the work of the dyer’s son, who had come into the atelier
only ten days before, he is said to have given orders to another scholar, to dismiss the youth.
This is only an anecdote. Yet Tintoretto’s art was derived from Titian, whether he profited by
the instruction of the great master for a longer or shorter period. But soon another genius, who
then ruled the age, began to exercise a powerful influence over him. This was Michael Angelo.
Tintoretto’s motto, “the drawing of Michael Angelo, the colouring of Titian,” involves a contra-
diction in itself. Michael Angelo’s plastic .forms and the brilliant colouring of the Venetian,
seem opposing elements in art when regarded by the outer world. And although Tintoretto’s
colouring displays that perfect mastery of the art acquired in his native school, it fails to give
perfect satisfaction, on account of the black shadows which are the consequence of an exaggerated
attempt at modelling. The work is also too hasty, as the Painter frequently lends his art to
the execution of extensive compositions containing a large number of figures. In these pictures
there is a vast amount of machinery, with confused groups; unexpected and bold situations are
presented to view, heaven and earth are set in motion, a storm sweeps over the scene. But his
compositions are often only external forms without that inward inspiration which is penetrated
by artistic grasp of subject, and which constitutes the greatness of Michael Angelo. There is
much constrained foreshortening: many figures are inserted merely to fill up the space, and
realism often drags the artist down to common-place existence.
He died at a great age, in 1594. He had produced during his long life an incredible
number of paintings. His colossal oil pictures on canvas represent the Christian or the heathen
Olympus, in immediate proximity with the stately daily life of Venice. Such pictures abound
in many Churches, in the monasteries, the Schools of St. Mark and of St. Roch, the state
chambers in the Doge’s palace, and the amount of action crowded into the space is always extra-
Art Treasures
17