|Statement||mit 360 Bildtafeln|
|The Physical Object|
|Pagination||150 p., 8 l.|
|Number of Pages||150|
|LC Control Number||46029570|
Die Gemälde des Jacopo Tintoretto. Munich, , p. , no. , dates it probably about – Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, , p. Bernard Berenson. Get Textbooks on Google Play. Rent and save from the world's largest eBookstore. Read, highlight, and take notes, across web, tablet, and phone. JACOPO TINTORETTO’S FEMALE CONCERT: THE REALM OF VENUS various instruments” (“Le Muse che, ridotte in un giardino, formano un concerto di Musica con varii strumenti”) This description is usually associated with Tintoretto’s Female Concert recorded in the collection of the Emperor’s inventories of and The other three paintings are lost. Tintoretto’s Finding of Moses is a relatively small but complex composition that seems an embodiment of the artist’s famed prestezza or rapidity, so much so that the canvas has sometimes been considered unfinished (Bayer ). Although the figures are defined by nervous and rapid brushstrokes that give the work its sketchy appearance, the landscape is accurately described both in the.
Bercken, Erich von der. Die Gemälde des Jacopo Tintoretto. Munich, , n. Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation Introduction by John Walker, text by William E. Suida. Accomplishments. Tintoretto's complex compositions stand in stark contrast to the geometric harmony typical of the Renaissance period. For this reason, the Venetian artist is often associated with the Mannerist style, itself defined by its break from the traditions set by Raphael and r, Tintoretto is equally a product of his home town of Venice, an artistic region known for its. The Crucifixion. Tintoretto's large-scale painting of The Crucifixion features the scene of Christ's death in a dramatic panorama, standing feet tall and just over feet-wide. Amid the tumult of characters, the artist has crafted a complex composition which evokes the preceding events of the Passion, while also suggesting what is yet to occur. Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, ), –, cat. no. ; Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, ), ; Lionello Venturi, Pitture italiane in America (Milan, ), no. ; Erich von der Bercken, Die Gemälde des Jacopo Tintoretto (Munich, ),
Tintoretto's family name was Robusti; he took the name Tintoretto from his father's profession of dyer (tintore in Italian). Tintoretto's art is characterised by daring inventiveness in both handling and composition. Most of his paintings are large-scale narratives on canvas, animated by dramatic lighting and gestures. The 19th-century copy of 'The Miracle of Saint Mark' gives an impression of. Jacopo Tintoretto Forthcoming, in stock, and out-of-print Title information on museum exhibition catalogs, art monographs, and international books from the ARTBOOK | D.A.P. Catalog. Erich von der Bercken Die Gemälde des Jacopo Tintoretto Munich • • p. 89, fig. , no. Hans Tietze Tintoretto, Gemälde und Zeichnungen London • • p. Rodolfo Pallucchini «Cinque secoli di pittura veneta a Sciaffusa, ad Amsterdam ed a Bruxelles e tre secoli a Parigi» in Arte Veneta (7) • • p. On the th anniversary of the Venetian master’s birth, this book shows how Tintoretto used architecture to structure perspective. Published by Marsilio Editori. Text by Gianmario Guidarelli, Marcel Grosso. There is no overstating the long shadow of influence that Jacopo Tintoretto (–94) has exerted on the history of Western art.