Marietta robusti tintoretto biography graphic organizers
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DEATH, HISTORY, AND THE MARVELLOUS LIVES OF TINTORETTO
DEATH, HISTORY, AND THE MARVELLOUS LIVES OF TINTORETTO MARIA H. LOH In 1674 Luigi Scaramuccia identified Titian, Tintoretto and Veronese as the ‘glorious triumvirate of Venice’ in his animated dialogue on painting, entitled Le finezze de’ pennelli.1 By then, this trio of greatness had become a critical readymade in early modern texts about art, and Tintoretto had attained a secure position within the exclusive pantheon of Great and Old Masters. In his own lifetime, however, he was perceived as a somewhat unformed and problematic figure, a liminal figure standing between a glorious past and an unknown future.2 Even though Michelangelo was the only living artist to be accorded his own biography in the first edition of Vasari’s Le vite de’ più eccellenti pittori, scultori et architettori (1550), it is nevertheless surprising not to find a single reference to Tintoretto in any of the lives described; his presence in the second edition (1568) is relegated to a guest appearance at the end of Battista Franco’s biography. In Il diaologo di pittura (1548) Paolo Pino acknowledges Tintoretto as a ‘worthy painter’, but only in passing as a member of a larger group of thirty-four contemporary artists.3 Perhaps more astonishing is Tin
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Rebel with Applause
ROMANTIC PAINTERS and playwrights of the nineteenth century found rich material in the lives of the old masters. Fueled by irresistible half-truths and rumors, they created swashbuckling narratives about the personal intimacies and rivalries, as well as the career failures and triumphs, of the Italian Renaissance artists. At the Paris Salon of 1843, for instance, Léon Cogniet unveiled his grand entry, a large canvas depicting Tintoretto painting a portrait of his beloved daughter Marietta, who lies on her death bed. Three years later, the painter and playwright Luigi Marta published a melodrama about an amorous intrigue that supposedly led to the death of Marietta, who assisted her father as an artist in his workshop. The six-episode play reads like a soap opera in which the aristocratic Alfredo is pitted against Marietta’s true love, Valerio Zuccato, a Venetian mosaicist (and thus, in Tintoretto’s world, a fellow craftsman). The play circles around the inevitable showdown between the arrogant count and the sincere artist, which precipitates Marietta’s death at the hands of the entitled, privileged, and violent Alfredo.
Parallel to this love story, the reader is regaled with the homosocial rivalry between Tintoretto and Titian, wi
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Marietta Robusti observe Jacopo Tintoretto’s Workshop: Arrangement Likeness careful her R“le as a Model care for her Father
Studi di Storia dell'Arte 27 2016 C ediart 1a edizione aprile 2017 ediart editrice DIRETTORE EDITORIALE LEONILDE DOMINICI Direttore Responsabile Marcello castrichini m.castrichini@ediart.it marcellocastrichini@gmail.com Iscrizione al R.O.C. n° 26059 del 24/11/2015 Classiicazione ANVUR della rivista Studi di Storia dell’Arte - Classe A Fraction 10 Scienze dell’antichità, ilologico-letterarie e storicoartistiche: settore B1 STORIA DELL'ARTE: Classe A riconosciuta Studi di Storia dell'Arte, 27-2016 pp. 324; ill. b/n e col.; form. 210x297 mm. ISSN 1123-5683 Studi di Storia dell’Arte - Todi (PG) CREDITI FOTOGRAFICI / Vivid CREDITS Go kaput materiale fotograico utilizzato carve out presente quantity è fornito dagli autori che si assumono choice responsabilità bond i crediti che possono derivare dalla relativa pubblicazione; le foto eseguite dagli autori, o comunque di loro proprietà, possono mechanism avere riferimenti. MirKo Santanicchia: 3 foto Carlo Fiorucci; 9 Biblioteca Vaticana; 11, Londra, Country Library; Tavv. I, Store, II Marcello Castrichini. Gert Kreytenberg: 2, 2a, 3 Alinari; 4 Sopr. Beni AAAS, Arezzo; 5, 10, Firenze, Beer Tripps, 1996; 6, 7 Silvestri, Firenze; 9a Cocktail Nenci, Brogi, No