TINTORETTO (JACOPO ROBUSTA)

Tintoretto (real name - Jacopo Robusta) was born September 29, 1518 in Venice. He was the son of silk dyer. Hence his nickname Tintoretto - "little dyer. " Even as a child he was addicted to drawing with charcoal and enjoyed the colorful materials for their father′s beautiful experiments on the wall. Ridolfo says: "In order to better explore ways of imposing paints, Tintoretto tried to visit wherever something stained and painted, and often took part in the work of painters. " It is very likely that in the medium poluremeslennoy facade painters and decorators chests and began to develop artistic techniques Tintoretto.

For a time he studied under Titian, Tintoretto, but soon, for unknown reasons, left his shop. In the future, working day and night, the artist himself never missed an opportunity to learn from the great predecessors.

His ideal masterminds and predecessors Tintoretto himself has pointed out, writing on the door of his shop motto: "Drawing of Michelangelo, Titian′s color".

In 1539 Tintoretto was headed his own studio. In 1545 he was commissioned by Aretino two mythological paintings for the ceiling. 1547 is dated "Last Supper" for the Church of Santa Markuola.

The first independent works of Tintoretto reveal its connection with the classical traditions of Venetian painting.

". . . a broad conceptual way of the stroke, the complexity of camera angles, the choice of a very high horizon, the combination of a rich pattern of lines and color with the restraint of color talk about developing a mature style master, - notes VE Suslenkov. - In his early works first appeared light, almost transparent figure of a further plan, scheduled just a light smears transparent network, - reception, giving the painting of Tintoretto special spirituality. "

In the years 1545-1546 Tintoretto visited Rome and Mantua, all other years, he worked without a break in Venice.

In 1548, at the request of Scuola di San Marco was written painting "Miracle of St. . Mark. Tintoretto used here the legend of the Alexandrian slave, who had been tortured because he disobeyed his master and went to pray at the tomb of St.

Photo — «Tintoretto (jacopo Robusta)»

Mark. Depicted the moment when the appearance of the saint, coming out of the sky, broken instruments of torture in the hands of the executioner. The picture kind of summed up the result of searching the young wizard. "Miracle of St. . Mark "Tintoretto won wide popularity in Venetian society. The artist receives a number of official orders, began to work in the Procuratie, the Doge′s Palace, in a number of Venetian churches, portrays a famous Venetian Nobile and state leaders, finally moving closer to the shops and philanthropic brotherhood - with the same terms of new customers from the middle and lower classes, with which primarily related to its future activities.

In 1550 the artist married to Faustina dei Veskovi. They had three children. Daughter of Marietta died early. The eldest son of Domenico assisted his father in the shop and left a distinct work. Younger daughter Ottavia married artist Francesco Kasser, who continued the tradition of the studio after his death.

Works of the fifties represent a breadth of vision of the artist. In 1550-1553 years he creates a series of biblical Adam and Eve "for the Scuola della Trinita. After another year or two there is a cycle of so-called "Frisians" differs from "Adam and Eve", a fine poetic charm and intoxicating feeling of joy of life. In a somewhat different refraction sounds sensual theme of earthly beauty in the film "Saving Arsinoe. " One of the most poetic images of Tintoretto, created in those years - a biblical image of the beautiful picture of Susanna in "Susanna and the Elders. With a brilliant mastery of the artist wrote a dazzling naked body on the background of lush green garden. In this painting Tintoretto appears as the best traditions of the Golden Age of Venetian painting.

"Presentation in the Temple" in the church of Santa Maria del Orto (1555) opens a new Tintoretto. "dramatization of the story, the offset of the logical center, accented by the asymmetry of songs - everything was new and strange in this picture, - wrote TS. G. Nesselshtraus. - Not surprisingly, opinions differed about it. Some saw it as a new word art, others - a daring breach of its hallowed tradition of the laws.

Photo — «Tintoretto (jacopo Robusta)»

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In 1562 Tintoretto began his famous series on the legend of St. . Marche ( "The Abduction of the body of St. Mark", "Saving the Saracen," "identify the body of St. Mark"). In "Saving St. Mark "(1562-1566) though space does not have the background, thunder and darkness ghostly light perfectly convey a sense of peace, full of danger, a sense of anxiety. At the same time, the sacred nature of the scene is underlined by light focused on the body of the saint.

Clean, shiny paint, typical of his early works, get cold, delicate shades, gain greater emotional tension.

In 1566 Tintoretto was elected member of the Florentine Academy of the picture. In subsequent years, he performs many official orders: Palais des Doges - great song "Doomsday" and "Battle of Lepanto" is involved in decorating the library of St. . Mark performs a number of cartons for the mosaics, wrote a series of official portraits.

During these years, created a series of paintings by Tintoretto, imbued with the desire to escape the reality of conflicts in the world of poetic tales, in a dream world. Great for painting, lively, emotionally vivid, and the composition of "The Origin of the Milky Way" (1570).

Full restless thrill of track built on the contrast rapidly invading from the depths of space servant Jupiter and delicate pearl body surprise reclining nude goddess.

In some of his allegorical works of Tintoretto glorifies Venice. "Marriage of Bacchus with Ariadne," The Forge of Vulcan, Minerva, Mars, removes from the Peace and Plenty, " Mercury and the Three Graces. "

In 1549 Tintoretto wrote for the Brotherhood of St. Roch (Scuola di San Rocco), a huge picture of St. Fox in the hospital. " The last thirty years of life, the artist works for the brotherhood, created 56 paintings. This fraternity was one of the most influential in Venice and had as its objective to help the poor and the sick. In 1564 for the decoration of the palace of brotherhood Tintoretto proposed that the Council donated his painting "St. Roch in Glory ". In the same year the artist becomes a member of the fraternity.

Photo — «Tintoretto (jacopo Robusta)»

In 1565 he wrote a new pattern for brotherhood - "Crucifixion", the largest in the world of a painting (7x22 meters). "Paintings by Tintoretto amazing. But his paintings, even huge, seem to be sketches, because the desire to express as much as possible, displaying inexhaustible daring, ill-served by finality images. As aptly observed Surikov, "he was not chasing a trim, like Titian, but only cover the construction of just one finger-thick lines. But the line of this thickness is not a line. Boldly and powerful brush Tintoretto. Color and light - these two elements Tintoretto merge under his brush, as if they dipped into the waves of light. No one before him did not contradict each other, such masses of light and shadows, pulling the light from the darkness of a truly titanic images "(L. Lyubimov). "Crucifixion" - it is really the whole world. As in life, it all suddenly and at the same time it is necessary and significant. Renaissance is striking and the plastic molding of character and deep clairvoyance human soul.

It tells VE Suslenkov: "In 1576, Tintoretto returned to work in the Scuola di San Rocco, and undertakes to complete the holy feast and bring the gift of brotherhood, the central and largest canopy composition -" The Brazen Serpent. "

In 1577, he finished two paintings, contenting himself to the cost of canvas and paint, and that same year calls for brotherhood with the new proposal - is committed to complete the decoration of the ceiling and write a series of paintings for the church fraternity, 10 paintings to adorn the walls of the upper floors, have not least 3 paintings per year. As compensation for this great work, it requests a negligible annual pension of 100 ducats. In 1578-1581 years the artist performs 10 songs in the upper hall, in 1582-1584 he worked on the compositions of the lower walls of the hall ( "The History of Mary"). Ends a cycle of paintings "The meeting of Mary with Elizabeth" (1588) on the main staircase. "

By the time work on this huge ensemble Tintoretto achieves artistic maturity. His talent is most fully revealed here. He has managed numerous overlapping and contrasting images convey his vision of the elemental power and the complex dynamics of Being.

Photo — «Tintoretto (jacopo Robusta)»

Among paintings this period ′penetrated rapidly drama "The Last Supper", imbued with an elegiac sense of dreaminess and subtle fusion of the human soul with the natural world "Mary of Egypt in the desert" (lower hall), full of hidden tension and anxiety "Temptation of Christ"; menacing-majestic "Excision of Moses of water from a stone", showing the intense struggle of titanium with the elemental forces of hostile nature "(Yu Kolpinskiy).

During the work on the upper and lower halls Scuola di San Rocco, Tintoretto wrote a series of historical paintings: the so-called "Gonzaga Cycle" (1580), 4 battle tracks in the Great Hall of the Doge′s Palace (1581-1584), "Rumble at Dawn "(1584-1587). Then, in 1588-1590, the wizard creates his masterpiece "The Battle of the Archangel Michael with Satan. "

In the last year of life of the artist wrote another version of the "Last Supper", this time for the church of Santa Maria Maggiore. Previously, he wrote "Last Supper" for the San Markuolo (1547), San Simione (about 1560), San Trovazo (about 1565), San Polo (1578), etc.

Returning to the subject, many times attracts him, he decides it differently than before. Not dramatic conflict, non-disclosure of betrayal are the contents of the picture, and a mystical time of adoption of ordinances ( "This is my body").

The resulting words the excitement of the apostles of Christ, arise in the shimmering green and golden light of chandeliers ghostly shadow of angels, the sense of infinite space are in stark contrast to scenes of everyday life convincingly. In this attempt to bridge the physical and mystical Tintoretto comes close to the contradictory complexity of the emerging baroque art.

Tintoretto painted many portraits. Particularly successful recent paintings, which is inherent in the extraordinary sharpness and richness of spiritual expression: "Alvise Cornaro", "Sebastiano Venier". Peak of his portrait art became a self-portrait, executed around 1588. The inner spiritual beauty, the beauty of the moral world of man transform his face, give him the extraordinary power and significance.

Photo — «Tintoretto (jacopo Robusta)»

From left Boskin description of the creative method wizard. Work on the composition evolved from Tintoretto follows. First, the master went to the place intended for the future picture to see the height of its location, with the distance from the viewer, lighting conditions. Then Tintoretto began to organize a decorative composition with wax models. When the compositional arrangement found its ultimate expression in the puppet stage, Tintoretto was about to commit some figures in the drawings of the Italian charcoal or pencil on kvadrirovannyh sheets of paper - each figure on the stage (or at least most of the actors) correspond to a single figure. With the grid, these drawings were transferred then to the large size on the canvas and there were recorded in the consolidated monochrome podmalevke. Only after the composition podmalevka tested in its impact on the ground, the master went on to the detailed modeling of figures and the eventual development of a color picture.

Biographers tell of a modest life of Tintoretto. Away from the hustle and bustle near the church of Santa Maria del Orto, he was with his family a modest dwelling. Tintoretto differed extreme unselfishness. In the Order, in which he was not lacking, it attracted not so much profit, as most work, and he always worked with great enthusiasm, not worrying about the size of the fee. Its very appreciated for his keen intellect, high moral character and a simple, open character. By a narrow circle of his friends belonged to the eminent representatives of the Venetian intellectuals, scholars and musicians - Daniele Barbaro brothers Venier, Lodovico Dolce, the secretaries of the Senate Ricci and Ramuz, composer and conductor of the San Marco Giuseppe Tsarlino and others. We also know that Tintoretto was quite a musical talent, perfectly played on different instruments, and loved to arrange any kind of music and dramatic staging.

Tintoretto died May 31, 1594.