Italian Mannerist Painter, ca.1518-1594 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 Tintoretto :. | The descent from the Cross | Tamar und Juda | Portrait of Doge Pietro Loredan | Christus bei Maria und Martha | St Roch in Prison Visited by an Angel |
Related Artists:
edouard Joseph Dantan
painted Un Coin du Salon en 1880
Jacob Levecq
(1634 - 1675), was a Dutch Golden Age painter trained by Rembrandt. According to Houbraken, who was his pupil during the last 9 months of his life, he had been trained by Rembrandt, but inherited a sum of money when his parents died, that he used to take care of himself, his two unmarried sisters and a blind half-brother. Houbraken could not recall much of his painting style, since he had been mostly sick while he was living in the house, and he no longer painted actively. In his younger years Levecq travelled to Paris and Sedan where he painted portraits, and on his return to Dordrecht became a portrait painter in the manner of Jan de Baen. When he died, Houbraken inherited a third of his prints, but regretted the fact that as a young boy with little experience in such matters, he only chose prints by Lucas van Leyden and Albert Durer, and had left the French prints for others, and so was very glad that he had received one anyway by Charles le Brun.
Dorfmeister, Istvan
Hungarian Painter, ca.1729-1797