Artist Report Drop Box - Tintoretto

Chris Prisbrey
ART 1010-403-Su15

Tintoretto was born in the early 16th century in Venice Italy during the art
period of mannerism and Late Renaissance. The name Tintoretto, oddly
enough, is not his actual name. It is instead a nickname of sorts which in
fact means little dyer or dyers boy. It came from the fact that his father
was a clothes dyer. His first name was actually Jacopo Comin and he also
went by the name Jacopo Robusti from his father. In his youth he began to
draw with the dyes his father used in clothe dying. His father felt he was
proficient enough that he took him to study with the master Titian. There is
some debate concerning what is factual and what is merely anecdotal, but
most historians agree that Titan exhibited some amount of jealousy at
Tintorettos skills. After only a very short period of tutelage, Tintoretto was
removed from the studio of Titian never to return. Although Tintoretto
always thought well of his master, it did not appear that those feelings were
reciprocated. There is not a large amount of details concerning is youth
other than the story of him with Titian.
Concerning his attitude and temperament, it can best be said that he was
fevered. He was very well known for his energy in his painting, gaining
the nickname Il Furioso. He was not one to look down upon a commission
and attacked everything with a feverish energy.
One of the most famous pieces, as well as a piece that I find most appealing
to my own eyes, is a piece titled The Last Supper. In comparing this piece

Artist Report Drop Box - Tintoretto

Chris Prisbrey
ART 1010-403-Su15

to another Last Supper piece from Leonardo da Vinci you can really see
some big differences. In Leonardo da Vinci piece the table is horizontal with
Christ as the central vanishing perspective with very light and mild natural
lighting. In Tintorettos piece the picture is very dark but is illuminated by
the halo of Christ. Christ although the focal point, is not at the center. The
table instead of being horizontal instead is aimed rakishly to the top middle
right. It gives a very real idea that Christ is this piercing light in the
darkness. It is very powerful. You can see the intensity of Tintoretto within
this piece.
When at first you look at this piece you notice that it is very dark with lots of
small but bright highlights. I think though that true appreciation in this
piece comes from really getting in close and really having this piece envelop
your entire field of view. This piece in physical form is quite big at 12 x 18.
To me this tells me that he would have really expected this piece to take up
your entire view. If you get really in close that is when the highlights and
play on the shadows really come out. It is almost like your eyes have to
adjust to the darkness to really start to see the highlights and accents that
Tintoretto wants you to see.
This piece seems to have two main focal points, the first obviously is Christ,
as his halo is the brightest and is the brightest source of light within the
picture. Then second is the candle up in the left. From that although it is a

Artist Report Drop Box - Tintoretto

Chris Prisbrey
ART 1010-403-Su15

more subtle light, it is almost as bright due to the smoke accents that
surround it, leading to an almost larger brightness.
Tintorettos style is very much focused on a realistic approach to character
and model design, with an emphasis on strong and vibrant colors and
contrasts. Many have felt that his strong use of colors came from his time
as a youth with his fathers dyes.
Resources
1. Book from a Library
Catherine Puglisi, William Barcham
(December 8, 2010)
Passion in Venice: Crivelli to Tintoretto and Veronese
GILES

2. Website

Tintoretto. (n.d.). Retrieved from

https://en.wikipedia.org/wiki/Tintoretto
3. Art Data Base
http://www.metmuseum.org/toah/hd/veve/hd_veve.htm