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Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

Joseph is a handsome and virtuous slave falsely accused of rape by his master´s wife, whose advances he has rejected. He is imprisoned, but eventually raised to the highest office by Pharaoh (Exodus: 39). Joseph and the Wife of Putiphar and Susannah and the Elders (P386) can be understood as parables of righteousness threatened and preserved, but here -as was usual for artists of the Renaissance a

Moses saved from the waters
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Moses saved from the waters
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

This is one of seven canvases (P00386, P00388, P00389, P00393, P00394, P00395, P00396) in a group linked by the same color scheme, a general accentuation of surface drawing and a rhythm of curved forms that link on painting to another. The scenes were designed to be seen together, at a certain height and laid out on canvases conceived as inclined planes that converged on a central painting. Clearl

Gentleman with a Gold Chain
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Gentleman with a Gold Chain
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

The Nobleman with the Golden Chain is the finest portrait by Jacopo Tintoretto at the Museo del Prado and one of that painter’s most outstanding, overall. While historians disagree about its chronology, the artist’s mastery of both the model’s anatomy and his relation to the surrounding space link it to his so-called portraits in motion from the 1550s. In fact, it is even more sophisticated and ef

The Queen of Sheba and Salomon
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
The Queen of Sheba and Salomon
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

This is one of seven canvases (P00386, P00388, P00389, P00393, P00394, P00395, P00396) in a group linked by the same color scheme, a general accentuation of surface drawing and a rhythm of curved forms that link on painting to another. The scenes were designed to be seen together, at a certain height and laid out on canvases conceived as inclined planes that converged on a central painting. Clearl

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