The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
8 results
Lady covering her Breast
Oil on canvas. 1580 - 1590
Tintoretto, Domenico
Lady covering her Breast
Oil on canvas. 1580 - 1590
Tintoretto, Domenico

The two canvases P382 y P384 are by the same artist and were probably intended as a pair. Their meaning can be gleaned from L’arte de Cenni (1616), the most important treatise on gestures of its day, written by the jurist Giovanni Bonifacio. According to Bonifacio, revealing a bare breast signifies sincerity, “as the breast is the location of the heart and when referring to speaking truly and sinc

Young Venetian Woman
Oil on canvas. Ca. 1580
Tintoretto, Domenico
Young Venetian Woman
Oil on canvas. Ca. 1580
Tintoretto, Domenico

Flora
Oil on canvas. Ca. 1590
Tintoretto, Domenico
Flora
Oil on canvas. Ca. 1590
Tintoretto, Domenico

There are two classical Floras: the mythological goddess, wife of Zephyrus and an example of marital harmony and fertility; and the legendary Roman prostitute of that name. The two became associated in the Middle Ages, and by the Renaissance both young brides and courtesans were identified with Flora. The wild rose held by this figure has a similarly dual meaning: a symbol of both marital fecundit

Young Venetian Woman
Oil on canvas. Late XVI century
Tintoretto, Domenico
Young Venetian Woman
Oil on canvas. Late XVI century
Tintoretto, Domenico

Lady revealing her Breast
Oil on canvas. 1580 - 1590
Tintoretto, Domenico
Lady revealing her Breast
Oil on canvas. 1580 - 1590
Tintoretto, Domenico

This depiction of an honest courtesan, presents an iconography of increasing interest to art historians in recent decades. With her curly blond hair, bare forehead and pearl necklace, as well as the breast she so generously offers the viewer, the model recalls a young woman whose mother sought to introduce her into the business of high-level prostitution, as described by Veronica Franco (1546-1591

The Baptism of Christ
Oil on canvas. Ca. 1585
Tintoretto, Domenico
The Baptism of Christ
Oil on canvas. Ca. 1585
Tintoretto, Domenico

Dressed in camel skins, Saint John the Baptist baptizes Christ in the River Jordan. According to the New Testament, the Holy Ghost descended at that very moment in the form of a dove —depicted in the upper part of the composition— and a voice was heard from on high, saying: “This is my Beloved Son, in whom I am well pleased.” (Matthew 3, 13-17; Mark 1, 9-11; Luke 3, 21-22). Previously attributed t

Prayer in the Garden
Gouache / tempera on paper. Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico
Prayer in the Garden
Gouache / tempera on paper. Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico

As Anna Forlani has observed in a note on the museum mount (1980), this drawing is a typical work of the son of Jacopo Tintoretto (1519-1594), Domenico, who was taught by his father and assited him in his workshop. The drawing has been extensively restored, especially in the lower half of the design, presumably in the eighteenth century.

Figure Seen from Behind
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico (Attributed To)
Figure Seen from Behind
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico (Attributed To)

The traditional attribution to Domenico may well be correct, though some aspects of the style suggest the work of Alessandro Maganza (1556-after 1630).

Up