Domenico Robusti, also known as Domenico Tintoretto, (1560 – 17 May 1635) was an Italian painter from Venice. Cookies strettamente necessari installati nel sito web: _ga: permanent cookie with 1 year duration used to store your preferences about cookies ;), _gid: permanent cookie with 3 year duration used to store your preferences about cookies ;), _gali: permanent cookie with 2 year Grab a cuppa with your developer and run through the detailed log. Its last great ravages took place in Marseilles in 1720. We are using cookies to give you the best experience on our website. Some critics have gone so far as to suggest that this pairing is Venice’s equivalent to Rome’s Michelangelo and the Sistine Chapel. Probably only the compositional arrangement and the figure of the saint are from the brush of Tintoretto himself, while the landscape has been attributed to Paolo Fiammingo and the two lateral groupings were added by Santo Piatti in 1729, at the time of its previous hanging on the upper part of the right-hand wall of the nave, where it functioned as a counterpoint to the pictures by Il Pordenone on the opposite wall, which contained similar groups of supplicants, paupers and the sick. He grew up under the tutelage of his father, the renowned painter Jacopo Tintoretto … His additions were then removed during a 1937 restoration at which time other portions of the work were also destroyed, being wrongly supposed not to be original. In 1674 the cupboard was eliminated and the two parts of the painting sewn together. Built in the first half of the 16th c., itwas the site of a brotherhood aimed to help the needy especially during the devastating plague epidemies. Jacopo Tintoretto, who later became a member of it, won the competition for the decoration of the ceiling – thanks to a clever trick which will be explained on the tour – and, step by step, he assured himself the wholedecoration. Most probably the first canvas executed in this second phase wasSt.
The tour will follow in the church, where other stunning art works are preserved and in surrounding area, to find out signs and evidences of the Scuola in the past daily life. This website uses cookies so that we can provide you with the best user experience possible. You can find out more about which cookies we are using or switch them off in settings. Submitted by Andrea Szyper. Questo sito web utilizza Google Analytics per raccogliere informazioni anonime come il numero di visitatori del sito e le pagine più popolari. The church was built in the 15th c. and renovated in the 18th c. Roch in Prison Visited by an Angel, where once again the scene is transfigured by a strong chiaroscuro, underlining the contrast between the radiant irruption of the angel sent by God to comfort the dying saint and the dark anguish of his surroundings. Another possibility is the visit of the Scuola dei Carmini, not far from S. Rocco, smaller but rich in 18th c. art. The complexity of the composition, the pathos expressed and the numerous details, keep alive the attention of the visitors of all ages. ... Bubonic plague waned in Europe by the 18th century. Over twenty years spent by Tintoretto to illustrate in the most fascinating way the walls and the ceilings of the huge building. Scuola Grande Arciconfraternita San Rocco ©2020.
They were taken down a few years ago, on the occasion of the erection of a late eighteenth century moveable choir, and are currently in storage at the Scuola. This contact form is deactivated because you refused to accept Google reCaptcha service which is necessary to validate any messages sent by the form. Doge’s Palace and St. Mark's Basilica for kids! Mantenere abilitati questi cookie ci aiuta a migliorare il nostro sito web. Subsequently, following alterations to the nave, Santo Piatti was tasked in 1729 with adapting the picture to its new position on the right-hand wall, where it has remained. But it is particularly the interaction between the unforgettable canvases – more than sixty, featuring episodes from the Old and the New Testaments – and the Scuola Grande di San Rocco that makes their pairing extraordinary to the point that one cannot call to mind the Scuola without associating it with the poetic impact of these masterpieces. Christ Healing the Paralytic (The Pool of Bethesda)Now hanging in the middle of the right-hand wall of the nave, this large canvas, painted by Tintoretto in 1559, at one time adorned the doors of a large cupboard for storing silver, which was intended to accompany another painted with gigantic figures of St. Martin and St. Christopher by Il Pordenone for the church earlier in the sixteenth century, from which Jacopo borrowed the architectural framework and the bold compositional structure. None the less, despite these vicissitudes, the quality of the canvas is still evident in the magisterial composition and the impassioned dramatic tension the painter achieves in his narration of the miraculous event. The first canvas, painted in 1549, is the majestic St. Roch Healing the Plague-Stricken, the first depiction of the plague in Venetian art, an extraordinary work with the dramatic setting of the interior of the pest house rendered even more striking by the double light source, created in the background by flaming torches and in the foreground by an improbable band of light flooding in from an unknown lateral source. Jacopo Robusti, known as Tintoretto, was born in Venice in 1519, and according to tradition, after an extremely brief (only a few days, it is said) apprenticeship in Titian’s workshop, was already by the age of twenty established as an independent master. Tintoretto made some paintings for the church too, in particular a youthful piece which expresses all the drama of a city hit by the terrible desease. His father, Giovanni, was a dyer, or tintore; hence the son got the nickname of Tintoretto, "little dyer", or "dyer's boy". Large paintings on canvas are common in Venice and Tintoretto himself used to paint particularly big scenes.
Conceived as a unitary cycle from as early as 1528, the decorative scheme for the presbytery features four canvases executed by Tintoretto at various different points of his career which narrate the final episodes in the life of the titular saint. Tintoretto’s Saint Roch Heals Plague Victims from 1549 shows those suffering from plague brought to a small chapel, where this Venetian saint is healing them. For reasons we do not know to this day, work was suspended at this point and not until 1567, after having completed the paintings in the Sala dell’Albergo, did Jacopo return to the chancel. © Copyright - My Venice Tour Guide Monica Latini - p.iva 03617990274Credits: Click here to contact with Whatsapp: (+39) 328 003 0005. Tintoretto, pseudonimo di Jacopo Robusti, secondo alcuni Jacopo Comin (Venezia, settembre o ottobre 1518 – Venezia, 31 maggio 1594), è stato un pittore italiano, cittadino della Repubblica di Venezia e uno dei massimi esponenti della pittura veneta e dell'arte manierista in generale. on May 6, 2020 under Arts / Italy / Museums / Venice. The other work from 1567 is St. Roch Blessing the Animals, a more naturalistic treatment, in which however a certain qualitative falling off is discernible, perhaps due to the intervention of other hands or damage sustained over the centuries. The fourth canvas, on the other hand, can be dated to the first half of the 1580s, and represents The Arrest of St. Roch, in which the plasticity of the foreground – where, off to the left, the saint is being forcefully dragged off by soldiers – is effectively contrasted with the evanescent and spectral rendering of the battle raging in the background. La Fenice and an unusual walk in St. Mark’s district, Scavenger hunt between St. Mark’s square and Rialto. The Scuole Grandi (Great Schools) of Venice were fraternal organizations, established between the 13th and 16th centuries. ;). Before becoming indissolubly linked with the Scuola di San Rocco, where he worked for over twenty years (1564-c1588), Tintoretto had already made his name with a series of masterworks, among them the marvellous St Roch Healing the Plague-Stricken for the adjacent church dedicated to that saint. I accept the Terms and Conditions and Privacy Policy *. Titian’s work was undoubtedly important for his training, but equally the influence of other Venetian painters, together with promptings derived from the nascent mannerist culture and an absorption in Michelangelo’s sculptural work, were crucial to the formation of his painterly language, characterised by rapid brushstrokes, a supple rendering of the human figure and strong chiaroscuro effects. Before becoming indissolubly linked with the Scuola di San Rocco, where he worked for over twenty years (1564-c1588), Tintoretto had already made his name with a series of masterworks, among them the marvellous St Roch Healing the Plague-Stricken for the adjacent church dedicated to that saint. Scuola Grande Arciconfraternita San Rocco ©2020. In this picture, which marks the real beginning of his engagement with the Scuola, the young painter breaks new ground with his conception of a nocturnal interior, arrestingly cut through with artificial light. Reduced to separate panels, with additions by Santo Piatti (1738) and remounted on the inside wall of the façade at either side of the marble choir of the new organ loft, they are relatively weak studio works.
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