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Have you noticed that in Venice there are more paintings than in all the rest of Italy? FOREIGNER: It is right and proper that you, being the richest men in Italy, should also have more beautiful things than the others, because craftsmen go where the money flows and where the people are soft-living and well fed.-Francesco Sansovino,  By the middle of the sixteenth century, Tintoretto and Veronese had begun to fashion their career trajectories in response to one another and to the reigning master, Titian. The clients who made the money flow were key players in the drama: state officials, confraternities, the clergy, private patrons in and around the city, and foreign princes. 1 Three features distinguished art patronage in Venice from that in other major cities. First, in the absence of a court culture, opportunities for artists were s

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a Meri L'ultimo quarto del XVI secolo, notoriamente, coincide con una fase di grande fervore nella definizione degli apparati ornamentali del Palazzo Ducale di Venezia, devastato in due occasioni, nel 1574 e nel 1577, da estesi incendi. Se l'opera di ripristino funzionale ed esornativo degli ambienti colpiti ebbe avvio, in entrambe le circostanze, all'indomani dello spegnimento delle fiamme, i lavori esulanti dalle strutture o, comunque, di utilità non immediata si protrassero per lunghi anni, svolgendosi con modalità e tempi sostanzialmente indiscernibili a causa delle lacune che, per l'epoca in questione, depauperano le serie archivistiche pubbliche di natura contabile. Ad occuparsi della manutenzione e dell'abbellimento dell'edificio era la speciale magistratura dei tre Provveditori sopra la fabbrica del Pala

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TINTORETTO "TRADITION AND IDENTITY. SECOND EDITION EXPANDED"

Disponible en 10 ó 15 días

ISBN:978-1-78023-450-2
EAN:9781780234502
Editorial:REAKTION BOOKS
Fecha de la edición:2015
Número de la edición:2
Colección:
Encuadernación:RUSTICA
Nº Pág.:400
Idiomas:

Jacopo Tintoretto (1518-94) is an ambiguous figure in the history of art. His radically unorthodox paintings are not readily classifiable, and although he was a Venetian by birth, his standing as a member of the Venetian school is constantly contested. But he was also a formidable maverick, abandoning the humanist narratives and sensuous color palette typical of the great Venetian master, Titian, in favor of a renewed concentration on core Christian subjects painted in a rough and abbreviated chiaroscuro style. This generously illustrated book offers an extensive analysis of Tintoretto's greatest paintings, charting his life and work in the context of Venetian art and the culture of the Cinquecento. Tom Nichols shows that Tintoretto was an extraordinarily innovative artist