1518-1594 Italian painter. His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 ?C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.   Related Paintings of Jacopo Tintoretto :. | Leda and the Swan | Diana and Endymion | Portrait of a Venetian admiral. | Last Supper | Self-Portrait |
Related Artists:
Hubert Robert
(22 May 1733 - 15 April 1808), French artist, was born in Paris. His father, Nicolas Robert, was in the service of François-Joseph de Choiseul, marquis de Stainville a leading diplomat from Lorraine. Young Robert finished his studies with the Jesuits at the College de Navarre in 1751 and entered the atelier of the sculptor Michel-Ange Slodtz who taught him design and perspective but encouraged him to turn to painting. In 1754 he left for Rome in the train of Étienne-François de Choiseul, son of his father's employer, who had been named French ambassador and would become a Secretary of State for Foreign Affairs to Louis XV in 1758.
Antoine Vestier
(1740 - 1824) was a French miniaturist and painter of portraits, born at Avallon in Burgundy, who trained in the atelier of Jean-Baptiste Pierre. He showed his work at the Salon de la Correspondance, Paris, before being admitted to the Academie Royale de Peinture et de Sculpture in 1785, when a portrait of the painter Gabriel-François Doyen, pwas his morceau de reception. Among his sitters was the royal beniste, Jean-Henri Riesener (1786, Musee de Versailles).
Johannes Adam Oertel
German, 1823-1909