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Tintoretto (born Jacopo Comin) painted faster and bigger than any of his Venetian contemporaries. He was possessed of monstrous ambition, not just for fame and reward, but for lasting artistic glory.

Tintoretto was also prolific, running a workshop to churn out his paintings to keep pace with commissions. In the 16th Century, Venice was a commercial and creative hub for artists who included ...

Tintoretto’s early work was strikingly uneven as well as stylistically varied. A large canvas portraying the mayhem surrounding the blinding of Saul on the way to Damascus (ca. 1544) amounts to ...

Tintoretto is properly identified with epic narratives, such as a supremely powerful “The Deposition of Christ” (circa 1562), which is especially prophetic of the Baroque.

Tintoretto’s “Crucifixion” in this city’s Sala dell’Albergo (“board room”) of the Scuola Grande di San Rocco, completed in 1565, provokes hyperbole, and not just because of its ...

John Barry says that in the last days of World War II, his great-grandfather, a prominent German art historian, lost a massive painting of the 16th-century sea battle at Lepanto.

Museums Seeing Tintoretto in Venice is very nice. But so is seeing his works in a well-lit museum. June 27, 2019 More than 6 years ago Summary ...

Tintoretto often conveys distances not only through shrinking figure sizes — they’re far away and therefore smaller — but by changing his palette to a sea of infinite grays with pastel ...

‘Tintoretto: Artist of Renaissance Venice’ Review: A Master’s Arrival The big, energetic, unwieldy paintings of Tintoretto come to Washington, spectacularly.