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Tintoretto, Domenico

Venice, 1560 - Venice, 1635

The son of Jacopo (Comin or Robusti) Tintoretto, Domenico trained alongside his father and assisted him in the workshop. He joined the painters' guild at the age of 17 and is documented as a member of their Venetian brotherhood from 1594 onwards. He began his career proper as his father's assistant, helping him execute the paintings for the Sala del Collegio and Sala del Senato of the Doges' Palace in Venice. He also worked independently in other rooms of the building, such as the Sala dello Scrutinio and Sala del Maggiore Consiglio. The fact that he spent his formative period in his father's environment enabled him to learn his style and apply it to his own creations, particularly battle scenes with groups of complex compositions and dramatic poses. During the last two decades of the century he concentrated on the religious commissions he received for Venice, such as "The Last Supper" and "The Crucifixion" of 1583 (church of Sant'Andrea della Zirada), the "Marriage of the Virgin" (church of San Giorgio Maggiore) and the "Crucifixion" (Scuola dei Mercanti). He also aided his father in this early period, particularly in the huge "Paradise" executed from 1588 to 1590 for the Sala del Maggiore Consiglio of the Doges' Palace. Domenico was an excellent painter of portraits, both individual, such as the "Portrait of a Young Man" executed in 1585 (Schloss Wilhelmshohe, Kassel), and group; in this speciality he stood out for two spectacular compositions produced in 1591 for the Scuola dei Mercanti (Academia, Venice). In 1592 he went to Ferrara to paint the portrait of Margaret of Austria, future queen of Spain through her marriage to Philip III. He later travelled to Mantua in 1595 to portray Vincenzo I Gonzaga. He painted the portrait of Doge Marino Grimani around 1595 (Art Museum, Cincinnati), for which he enjoyed great success. He also produced mythological paintings which denote the influence of his father, from whom he differed in draughtsmanship. His style of painting underwent a transformation after Jacopo's death. This change can be seen above all in his last paintings, which lack the vitalistic expressive force of those of the 1580s. Nonetheless, he skilfully conveyed the aesthetic ideas of the precepts of the Counter Reformation in religious art and developed formulas that were in keeping with Roman popular naturalism of the first third of the 17th century (Luna, J. J.: From Titian to Goya. Great Masters of the Museo del Prado, National Art Museum of China-Shanghai Museum, 2007, p. 396).

Artworks (10)

Judit y Holofernes
Oil on canvas, XVI century
Tintoretto, Domenico
La Prosperidad o la Virtud ahuyentando los Males
Oil on canvas, Second half of the XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico
Young Venetian Woman
Oil on canvas, Ca. 1580
Tintoretto, Domenico
Lady covering her Breast
Oil on canvas, 1580 - 1590
Tintoretto, Domenico
Lady revealing her Breast
Oil on canvas, 1580 - 1590
Tintoretto, Domenico
The Baptism of Christ
Oil on canvas, Ca. 1585
Tintoretto, Domenico
Flora
Oil on canvas, Ca. 1590
Tintoretto, Domenico
Young Venetian Woman
Oil on canvas, Late XVI century
Tintoretto, Domenico
Prayer in the Garden
Gouache / tempera on paper, Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico

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