The exhibition in the former rebel Renaissance papal stables allows you to touch the turbulent genius of the artist, whom Jean-Paul Sartre called "the mad Titian"

Rome, Papal Stables, February 25 - June 10, 2012

Jacopo robusta, known as Tintoretto Creation of the animals. 1550-1553
Source: artnet.de

Few of his works of artists managed to cause so much controversy, as Tintoretto (Tintoretto). Vasari (Vasari) accused him that he too quickly scribbled his numerous works, but admitted that Tintoretto had the most amazing artistic mind that you can imagine. The great connoisseur of Renaissance Jacob Burckhardt (Jacob Burkhardt) accused of vulgarity in Tintoretto. Probably best described of this amazing artist Jean-Paul Sartre (Sartre), comparing it to the distraught Titian, Michelangelo devoured by passion, obsession St. Vitus dance.

Robusta Jacopo, called Tintoretto, was born in 1519 , about the years of his teaching we know little. One of his first biographer, Carlo Ridolfi (Carlo Ridolfi), suggests that Titian did not take him to his disciples, fearing it too obvious graphical talent - however, there is no evidence of this history, though the painter Tintoretto's talent surely can not be questioned. He carefully considered his sketches for paintings, and complex curves of the bodies are so much in his work, wrote to the sitters, which to catch a particular nuance of movement, tied to the beams in his studio. Their lighting effects he created with the help of experiments with candles.

play of light and shadow is particularly occupied the imagination of the artist, as she took and other great Venetians. And in conjunction with the manner of Tintoretto, "throw" the viewer directly into the thick of things, his work filled with irrepressible energy give rise to a feeling of constant balancing on the edge and play with the elements.

Life Tintoretto fell on one of the most turbulent periods in the history of Venice. He had seen at Venice afflict war, famine, plague and fire, one of whom, incidentally, destroyed one of his works in the Palazzo Ducale. And most importantly, Tintoretto became the chief artist of the church in the midst of the Counter-Reformation, in an era when the role and form of religious imagery caused many disputes.

Even before the final decisions of the Council of Trent, which became the answer to the Catholic Church on the Reformation, to artists, it was clear that the pagan myths and nude - everything what until recently was the basis of their creativity, is now, so to speak, desirable in the art. But Venice, which has always sought independence from the Vatican, by some miracle managed to stay away from these trends of the time. This is evident in the work of Tintoretto's 1555-1556 "Susanna and the Elders", imported from Vienna, where the whole face of the earth is full of beautiful Susanna's passion and desire.

In 1553 Tintoretto was commissioned to paint a picture on the subject of the miracle of Saint George and the Dragon. In his interpretation to the fore the princess rescued from the serpent, and the painting itself - a real whirlwind, woven from the movement of light and color, painting in the genre of "action" is far ahead of its time.

Tintoretto abandoned traditional interpretations of the stories in the papers, "The Creation of Animals" (1550-1553) and "The Last Supper" (1562-1563). Both are full of movement and drama: the first artist depicts God in flight, surrounded by fish and birds, the action moves to the second Italian tavern of the XVI century.

Tintoretto exhibition, taking place in the exhibition hall Scuderie del Quirinale (Papal Stables) in Rome, prepared naitschatelneyshim way. Here, among other things, you can see the early works of the Renaissance rebel, and some of them clearly unsuccessful.

And though later he mastered the art of painting, his habit to rely on a huge number of students and unquenchable desire to create more and more new products have led to many of them were deprived of necessary care on his part. In addition, it is known that the artist has earned a dislike of fellow guild skill to catch them good orders.

curators of the exhibition, which presents a number of works the artist's studio, and do not try to hide the weakness of the master - his obsession with quantity at the expense of quality. However, there is enough masterpieces, which are obviously looking at that sometimes Tintoretto, with its rugged, powerful and controversial gift outshines even the Titian (Titian).

exhibition opens brilliant work "The Miracle of St. Mark 'tale of a servant, sentenced to torture for the veneration of the saint, in which St. Mark rescues a young man, descended from the sky in front of the astonished crowd. The scene is filled with violent drama, which is referred to the positions, movements, facial expressions, colors, sharp dynamism of the composition.

The exhibition also presented portraits of the master - the image of noble and wealthy Venetians, in which Despite a tendency to fast work by Tintoretto, remarkably captured all the nuances of the character portrayed. And again, even in the genre of the portrait by Tintoretto departs from the canons of his time: in contrast to the great portraits of Titian and Bronzino (Bronzino), who struck the spectators luxury clothes of their characters, the heroes of paintings by Tintoretto dressed in something dark and monotonous, and the artist with bright flashes of light illuminates their faces, which captures the entire history of their difficult struggle for power and strength.

Prepared by Mary Estrova, AI

Source: scuderiequirinale.it , artinvestment. ru