Book Description

Jacopo Tintoretto (151894) is an ambiguous figure in the history of art.His radically unorthodox paintings are not readily classifiable and although Venetian by birth, his claim to be truly of the Venetian School has long been in doubt.As a youth, he was quickly ejected from the workshop of the great Titian, accepted then, as now, as the apogee of Venetian painting.In the long career which nonetheless followed, Tintoretto increasingly abandoned the humanist narratives and sensual color values which typified the work of Titian and the venerable Venetian Renaissance tradition. Critics and writers such as Vasari, Boschini, Ruskin and Sartre have all placed Tintoretto in total opposition to the established artistic practice of his time. But this view offers an over-simple and ahistorical answer to the question of Tintorettos relation to tradition. Tom Nichols offers an important re-assessment of Tintorettos place in art history.Far from rejecting existing artistic practice, Tintoretto began by seeking to create an up-to-date manner of painting and an artistic manner which, for all its originality and sophistication, made its first appeal to the shared emotions of the widest possible viewing audience. ... Read more

Reviews (1)

best tintoretto book on market
This book is, hands down, the best book on the works of Tintoretto on the market.Tom Nichols is a very well respected and well published art historian in the field and this book lives up to his reputation.It has many beautiful color prints of paintings (along with some black and white)and some very useful and helpful diagrams of the Scuole di San Rocco thatshow where many of Tintoretto's paintings are.It is probably the mostcomplete, up to date work about any Venetian painter that I have read. ... Read more

Book Description

Painting in Sixteenth-Century Venice, here published in a revised and updated edition, explores the visual tradition of one of the most important centers of the Italian Renaissance through a study of three masters--Titian, Veronese, and Tintoretto--who dominated and shaped the traditions of Venetian painting in the High and Late Renaissance.David Rosand also explores the formal principles and technical procedures that determined the uniqueness of painting in Venice, above all the development of oil painting on canvas. ... Read more

Reviews (3)

Don't be misled by opinionated review!
"Ann Arbor" is way off the mark, and did not read the Tintoretto chapter carefully, as it celebrates the depth of the artist's religious imagery. This book is a classic! Gracefully written, deeply learned yet unassuming, and deserving the most attentive close reading you can spare. The introduction is the best, most concise treatment available anywhere of the outstanding contributions of Venetian Renaissance painting. Rosand is possibly the most distinguished scholar now writing about this marvelous topic. Note that the 3 "artist" chapters are not meant to produce a SURVEY of Venetian painting--each has a different THEME that is traced in the art of the master best suited to it. I've been teaching Venetian Renaissance art at the undergrad and grad level for over 20 years, and I can vouch for the excellence of this book.

Good and bad...
This book would have recieved 5 stars if it wasn't for an apparent misunderstanding of Tintoretto on the part of Prof. Rosand. The first section of the book is oustanding, laying out beutifully such necessary background info/theory as the role of the artist in 16th century Venice and (even better) the aesthtics of the disengo vs. colorito / florence vs. venice controversy. Now for the bad: while it is generally a nice, concise overview of Tintoretto's artistic production, Rosand misses the point in terms of expressive content of his art, debunking the notion that Tintoretto communicates a real, personal passion and piety. He also claims that, contrary to popular scholarship, the Council of Trent had little effect on the outcome of his paintings and "any attempt to link associate specific doctrines may be misleading" (approx. quotation regarding the San Giorgio Maggiore "Last Supper). Despite these questionable views (which he contradicts in other sources, by the way) it is a valuable volume to anyone's personal library.

Great book
I haven't seen the book, but i have a feeling it will be grea ... Read more

Book Description

This digital document is an article from Kids Discover, published by Kids Discover on May 1, 2000. The length of the article is 518 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Artistic Venice.(key figures in Italian Renaissance art)
Publication: Kids Discover (Magazine/Journal)
Date: May 1, 2000
Publisher: Kids Discover
Volume: 10Issue: 4Page: 12

Distributed by Thomson Gale ... Read more

Book Description

Edited by Alte Pinakothek. Essays by Cornelia Syre, Bruno Heimberg, Veronika Poll-Frommel, and others.

Alongside Titian and Veronese, Jacopo Tintoretto (1518-1594) is one of the most highly regarded 16th century Venetian painters, yet his Gonzaga Cycle, which belongs among the finest works of this era, has not been properly appreciated until now. Commissioned by Duke Guglielmo Gonzaga to paint a series of eight paintings for two still-existing rooms in the Palazzo Ducale in Mantova, Tintoretto completed the first part in 1579 and the second half in 1580. This publication features an extensive analysis of the finished paintings, and provides new insights into Tintoretto's methods, allowing for a new assessment of the complete cycle. With well-researched yet easily accessible essays about aspects of the cycle's history, style, iconography, and technique, this monograph is a significant contribution to studies on the leading mannerist of Venice. ... Read more