COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000011
image_record_id
aahi0000011
Image Record ID
false
Work Title (display):
Young Lady (Self-Portrait?)
Work Title (variant):
Self-Portrait
Image Title:
full view
Work Dates (display):
1553 or 1555
Work Dates type:
creation
Work Creator (display):
Jacopo Tintoretto (Italian, 1519-1594)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
Venetian painter. His nickname derives from his father's profession of cloth-dyer (tintore). He quickly developed a highly personal and idiosyncratic style and ran a large workshop offering quick turnover at competitive prices. Three of his children became artists and worked in his studio. Domenico (15601635) assisted his father on many major projects including the decoration of the Doge's palace but lacked individual artistic personality. Marietta (c.1554c.1590) appears to have specialized in portraiture (Self-Portrait, Florence, Uffizi). Little beyond the bare outlines is known of Tintoretto's life and early training. He is said to have worked briefly in the studio of Titian, and the style of his early work suggests the influence of Schiavone, Pordenone, Paris Bordone, and Bonifazio de'Pitati (14871553). As a man he was quite unlike Titian, and attracted a different kind of patron, middle-class rather than aristocratic. He spent almost all his life in Venice, working largely for religious confraternities (scuole). He appears to have been unpopular due to unscrupulous tactics in procuring commissions. According to his biographer Ridolfi, Tintoretto was practising as an independent artist by 1539 when he collaborated with Schiavone and others in the production of cassone panels. During the 1540s, he appears to have received commissions for large narrative religious paintings, often intended for secondary positions on the side walls of chapels in Venetian churches. This may have stimulated him to experiment with perspective to take account of the viewer's position in the central navefor instance in the Christ Washing the Feet of the Disciples (Madrid, Prado), c.15478, painted for the right wall of S. Marcuola, Venice. Public recognition appears to have followed his S. Mark Rescuing the Slave (15478; Venice, Accademia), commissioned for the Scuola Grande di S. Marco. Its disturbing foreshortening and the contorted limbs of the protagonists heralded the advent of a new, more violent Mannerist style than that displayed by such artists as Schiavone. This was quickly followed by S. Roch Healing the Victims of the Plague for S. Rocco, Venice, in 1549, notable above all for its dramatic chiaroscuro. Paintings such as Cain Killing Abel, Creation of the Animals, Original Sin (15503; Venice, Accademia), commissioned by the Scuola della Trinità, seem to confirm Ridolfi's assertion that Tintoretto aimed to combine Titian's colour with Michelangelo's disegno. Roman influence (in particular Daniele da Volterra) is also apparent in the Deposition (Edinburgh, NG Scotland) painted for the Basso chapel, S. Francesco della Vigna. In the early 1560s Tintoretto was to be found working on the vast choir paintings, including the Last Judgement, at the church of the Madonna dell'Orto. At about the same time, in 1562, he was also commissioned to produce three extremely large-scale paintings for the Scuola Grande di S. Marco: the Removal of the Body of S. Mark from the Funeral Pyre (Venice, Accademia); the Finding of the Body of S. Mark (Milan, Brera); and S. Mark Saving the Saracen. It is here that one can best visualize Tintoretto employing the working technique described by his contemporary Marco Boschini, making small wax models which he arranged on a stage both to set the design and experiment with spotlights for effects of light and shade. The scenes depicted in these canvases appear to be set within deeply foreshortened boxlike spaces with an irrational pattern of light and shadow. A major turning point in Tintoretto's career is marked by his election in 1565 to the confraternity of the Scuola Grande di S. Rocco and his commission to paint a series of paintings in situ for the Sala dell'Albergo: The Crucifixion (1565), followed by the Road to Calvary, Christ before Pilate and Ecce Homo in c.15667. According to Vasari, Tintoretto obtained this commission by means of dirty tricks, having pre-empted the competition by donating and installing the ceiling canvas of S. Roch in Glory in 1564. The scenes from the Passion, by virtue of their size, uncompromising realism, and rude energy, make an unforgettable impact and would continue to fascinate north Italian artists (the Lombard G. C. Procaccini for instance) well into the next century. And from 1575 to 1588 Tintoretto would continue to work for the confraternity on a regular basis. He first executed the ceiling of the Sala SuperioreBrazen Serpent, Moses Striking the Rock, Gathering of the Manna (15757)and went on to undertake a large series of paintings of the life of Christ for the walls of the same room (157881). It would be easy but cynical to suggest that Tintoretto's fa presto style was inspired by commercial considerations, after he agreed to produce three pictures each year for an annual stipend of 100 ducats. The predominant stylistic development evident in this series is a further loosening and simplification of human forms, an almost expressionist and summary treatment of landscape, and a roughness of technique and lack of finish that distressed Vasari. Yet this cycle of pictures claims our attention as one of the great monuments of Venetian Renaissance painting, defying all central Italian conventions about disegno and decorum, rational perspective or lighting, but achieving a visionary intensity that later, in the mid-19th century, fired the imagination of John Ruskin, who recognized its spiritual and moral power. Tintoretto concluded his work at the Scuola di San Rocco with a series of paintings of the life of the Virgin for the ground-floor room (15837) and an altarpiece of the Vision of S. Roch (1588). Although Tintoretto painted a few pictures for important foreign patronsOrigin of the Milky Way (c.1577; London, NG) for the Emperor Rudolf II, and the Nativity (1583; Madrid, Escorial) for King Philip II of Spain, he did not enjoy the international success of Titian or even receive the aristocratic patronage that sustained Veronese. This also affected his practice as a portrait painter, which was probably inhibited by the provincial context of most of his commissions, generally pictures of local dignitaries destined to hang in public buildings. At best, as in Vincenzo Morosoni (c.1580; London, NG), they convey human dignity and frailty as well as the external trappings of power and wealth. Tintoretto's career in Venice ended on a high note with the commission for the Paradise ceiling in the Sala del Maggior Consiglio of the Doge's palace (158890); but only after Veronese, who had won the initial competition in 157982, had died without fulfilling the contract. (Grove Art Online accessed 2007-10-02)
Work Creator (display):
Marietta Tintoretto (Italian, ca. 1554-1590)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
Daughter of (1) Jacopo Tintoretto. She was taught by her father and assisted him in his workshop. It is said that while young, he had her dress like a boy and follow him everywhere. As his favourite daughter, Jacopo also had her married to a local jeweller to keep her near him. Marietta does not appear to have received commissions for major religious paintings, and, like other women artists in this period, she worked primarily as a portrait painter. Apart from a Self-portrait (Florence, Uffizi), no work can be assigned to her with certainty. The three portraits attributed to her in Madrid (Prado) include a possible self-portrait. The only surviving painting that may be signed by her is a Portrait of Two Men (Dresden, Gemäldegal. Alte Meister), which bears the initials mr. Ridolfi wrote that her portrait of the antiquarian and collector Jacopo Strada attracted the attention of Emperor Maximilian II, who enquired about her employment as court painter. However, this may be a mistaken reference to her father's portrait of Strada's son Ottavio Strada (Amsterdam, Stedel. Mus.). Philip II of Spain apparently showed a similar interest in Marietta's work. A few small religious paintings are attributed to her, including two pictures of the Virgin and Child (both Cleveland, OH, Mus. A.), and her work as an assistant is thought to be evident in certain of her father's paintings (e.g. St Agnes Reviving Licinio, c. 15789; Venice, Madonna dell'Orto). Two drawings after models (Milan, Rassini priv. col.) are also assigned to her and were probably executed while she was in her father's workshop. (Grove Art Online Accessed 2006-07-27)
Work Creator Attribution (display):
museum attributes to Jacopo Tintoretto
Work Creator Attribution (display):
once attributed to Marietta Tintoretto
Work Style Period:
16th century
work_styleperiod
16th century
Work Style Period
false
Work Style Period:
Italian Renaissance-Baroque styles
work_styleperiod
Italian Renaissance-Baroque styles
Work Style Period
false
Work Subject:
women (female humans)
subject
women (female humans)
Work Subject
false
Work Subject:
pearls (animal material)
subject
pearls (animal material)
Work Subject
false
Work Subject:
portraits
subject
portraits
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil on canvas
Work Measurements (display):
98 cm (H) x 75.5 cm (W)
Work Location (Repository or Site) name:
Kunsthistorisches Museum Wien
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
48
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
Vienna, Austria
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see