What is the subtext of the largest oil painting
Tintoretto is included in the galaxy of the best masters of the late Renaissance along with Veronese and Titian. His colleagues are distinguished by the highest speed of work, as well as sparkling and spiritual talent. Why did Venice artists not like him, and what is the implication of Paradise, the largest oil painting in the world?
Tintoretto biography and creativity
The Tintoretto family (his real name is Jacopo Robusti) came from Lombardy. Father, Giovanni, was a dye (tintore), and his son was nicknamed Tintoretto – “little dyer.” Jacopo was born and worked in Venice, which at that time was a storehouse of talents. The favorable geographical position (Venice owned the islands of Crete, the Peloponnese and its own fleet), the local school of painting, political and economic stability, the wealth of aristocrats, the city’s position in the center of the world – all this made Venice the center of pictorial art. Venice – the greatest empire of geniuses and a symbol of the ministry of art, has created a galaxy of the best of the best of that time, including Giovanni Bellini, Tintoretto, Titian, Michelangelo, Veronese.
An interesting case from childhood: Jacopo Robusti, a born artist, began walls at the request of his father. He, who noticed the beginnings of talent in the boy, took him to the workshop of Titian. Tintoretto was at that time only 15 years old. He prepared his drawings and sketches, but on the next tenth day of training, a servant of Titian came up and kindly asked him … not to come to school anymore. Titian saw in Tintoretto’s sketches a real rival and competitor in painting. All Venice was in full swing: who is more talented? Tintoretto or Titian? Who wrote the next masterpiece better? The gift of Tintoretto outraged not only Titian, but also many of his fellow contemporaries. He really did not like for the high speed of work and for the diplomatic ability to receive orders.
There is one interesting story: the Brotherhood of St. Roja announced a competition to create a ceiling painting in the church of Scuola di San Rocco. Artists had to prepare sketches with ideas and come on the same day to select candidates. When this day arrived, a commission gathered to evaluate the submitted sketches. All artists took turns transmitting their sketches to the jury. Only Tintoretto stood modestly in a corner. When members of the commission drew attention to him, he silently pointed to the ceiling, which was already beautifully painted. It was “St. Roch in Glory. ”
Tintoretto did not ask and did not receive anything for this work. The commission was delighted with the quality and speed of work (while other candidates were preparing only sketches, Jacopo had already painted the ceiling). The disinterestedness of the master and his talent attracted attention. He was inundated with orders, and after a rather short time, he gained popularity.
Among other things, there is another quality for which he was not loved – Tintoretto was silver-free (this means giving up wealth and money in the name of faith and talent), capable of working for free. There were times when the master wrote one work for an agreed cost, and gave the second for free. His noble representation of art and his high personal ambitions were confirmed by the inscription that he placed over his studio “Michelangelo’s Drawing and the Color of Titian.” Among his customers (famous citizens) were monarchs: King of Spain Philip II and the head of the Roman Empire, Rudolph II.
Tintoretto is a master of whirlwind, miracles, strong spirit and energy, spontaneity and spiritualism, a self-taught person who, thanks to perseverance and work, made a huge personal leap forward. Tintoretto painted no longer in the spirit of the Renaissance (he was born at the end of the era), he created and wrote ahead, was partly mannerist, trying and developing new painting techniques. Moreover, in life he was a modest family man and the father of 3 children.
After the death of Titian in 1476, Jacopo was recognized as the best painter of Venice. Only his friend P. Veronese could compare with him. After the death of Veronese (1588), an order for painting the Doge’s Palace passed to Jacopo (a similar order is recognition of merit and talent). Tintoretto created “Paradise”, which struck the Venetians with scale and realism.
“Paradise” – a grandiose wall painting in the Doge’s Palace
The crown of creativity of Tintoretto, the last of his monumental paintings, was “Paradise” measuring 22×9 meters. The painting was painted for the end wall of the Great Council Hall of the Doge’s Palace in Venice, which was badly damaged during the fire of 1577. Tintoretto took part in the design of a number of premises of the Doge’s Palace. Four canvases of his authorship, exhibited in the Hall of the Entrance of the College, clearly show his artistic skill: mythological scenes are very skillfully built in space, almost like on the stage of the theater.
The next order was to fulfill Veronese, but after his death he went to Tintoretto. The hall for the future masterpiece was a chamber of legislative meetings and the theme of the canvas was chosen for a reason: the artist wanted to provide an edifying effect with such a powerful and even somewhat frightening picture.