Tintoretto: Artist of Renaissance Venice

Jacopo Tintoretto (1518/19 - 1594) changed the face of Venetian painting. His loose, fast and furious brushwork was compared to a thunderbolt. Combining the rich colors of Titian with the dramatic muscularity of Michelangelo’s human figures, Tintoretto covered the walls of his native city with pictures that astounded his contemporaries; one critic declared him “the most extraordinary brain that the art of painting has ever produced.” This documentary includes original footage of Tintoretto’s works in the churches and palaces of Venice and interviews with curators and scholars. This film was made possible by the HRH Foundation.

[@NashvilleMack]

A wonderful film for an amazing exhibit- thank you!!

[@th3painter728]

One of favorite painters, Tintorretto

[@normanstratford9329]

Very good video of Tintoretto. The amazing placement of people in the scene. It takes a lot of skill to paint in this way, imagining the figures in different positions. The stairs as seen by a child to give emphasis to The steepness is excellent.

[@henboker3]

Thank you for this wonderful presentation this morning.

[@mountains7694]

Thanks so much for this wonderful documentary! What an absolute madlad he was to install his own painting knowing the church couldn't refuse donations! I just saw The Washing of The Feet at Prado, Madrid, it had me absolutely floored!

[@bennyhill5663]

A very informative documentary about an artist I knew little about - thanks.

[@anotherjewishsharpnicholas9425]

He has the eyes of a captured artist.

[@maomaoj]

Thank you very much, NGA! I enjoy the film enormously!

[@eldosen5996]

Beautiful video. Thank you!

[@artist2739]

Great telling of the story Tintoretto with beautiful images :) Thanks you for sharing.

[@abbybocelli4213]

Grazie mille.

[@Gioviguru]

Thanks so much for this video ❤loved it ❤

[@rayhmassas3123]

Thanks my brother j Massas really appreciate and enjoyed

[@CaterinaMigliore]

Bellissimo video, grazie

[@shamsjain4562]

Excellent narrative

[@lunes-1]

Great video,keep it up!🖼🎭

[@pmajudge]

THANK YOU , WOW !! SUPER GREAT VIDEO FROM U.K. (2022).

[@inmobiliariaare6936]

Gracias.

[@majorartistsworks4069]

Excellent

[@londonartweek7871]

Great!

[@gerryarty8342]

Thanks :)

[@justasking506]

Salamat po.

[@user-wp5gu2sy3f]

Like a flying object Tintoretto in one singular night Tintoretto painted 90 quadratic meters and more in the height of 10meters+ the ceiling of a a Venetian very big basilica church.

[@mahtab557]

💗💗🙏👏👏👏

[@mariopinot9884]

Nice

[@kyrie0033]

Born "Jacopo Comin", not Robusti. Tintoretto, Robusti and il Furioso where nicknames.

[@ruthgoldbloom9979]

True!

[@bnkundwa]

The Greek and Latin cultures at their best.

[@Rob-nh9cu]

[5:22] "The Vatican insisted that the bread and wine were not symbolic as Luther had claimed." Someone didn't do their homework. There is a distinction between the radical reformers, who did indeed hold that view, and the conservative reformers, who believed and taught that the bread and wine are, as Luther famously wrote in his Catechism, "the true body and blood of our Lord Jesus Christ..." There are indeed some further theological differences with Rome that I won't mention, but the video did seem to overstate things there. Consider the paintings, especially the altar pieces, of Lukas Cranach: "But Cranach, as a Lutheran sacramental artist, undermines this broader temptation toward Calvinism by depicting the sacred in the only possible way that Lutheran theology could allow: Christ’s presence in the midst of the gathered community. In so doing Cranach reasserts the Lutheran preference for the material world as a means of conveying divine grace. Thus the two allegorical messages of this piece point to two central Lutheran doctrines: Christ’s ubiquity and real sacramental presence." ("Viewing the Real Presence" by Michael W. DeLashmutt)

[@grandbaycentral5741]

Wimbledon June 28 ✌

[@doreekaplan6782]

uMMMM,,,,,,,wonder what seven people find that one hundred thousand people never saw.....nuts

[@danjamuco7155]

Why would Titian block Tinteretto from moving forwards with his art? Was that jealousy? I'm confused

[@markahearn1]

My guess is that Tintoretto may have came across to Titian as an arrogant jack ass.

[@BassGoBomb]

Yes, jealousy.

[@stephaniek1076]

Yep...good, old-fashioned jealousy (according to other articles I've read on the subject)! I can't help but also be reminded of Mozart!!

[@uffa00001]

@@stephaniek1076 " I can't help but also be reminded of Mozart!!". These things happen when people take American BS movies as if they were historically accurate. Salieri was, at his time, much more famous than Mozart. He was so keen of developing talents in young artists that he is one of the founders of the Conservatory of Music in Vienna. He was the teacher of Schubert and Beethoven who always felt gratitude to their Master and also dedicated works to him. He refused a highly prestigious post in Paris to remain in Vienna with his students. If there is a musician who did not know what jealousy is, and who was keen to help young artists develop their talent, that was Salieri. The tidbit to take home is that Hollywood "historical" movies are never "historical", but rather "shitstorical".

[@earlsarcades]

Tinotoretto 1588 bunch

[@earlsarcades]

Tintoretto 1588 bunch

[@RioYugo]

IS THAT STANLEY TUCCI??????!!!

[@apogeeangel2387]

0:18 looks like the guy who invented twitter

[@michaeljohnangel6359]

What on earth …? Tintoretto's self portrait was by no means the first!!! European self portraits date back to the early 1400s. Even in Venice itself, Titian's self portraits pre-date Tintoretto's.

[@jandmlewis4294]

He means the direct and challenging gaze was new for a self-portrait, not that self-portraits were.

[@stephaniek1076]

@@jandmlewis4294 And, his use of both light and shadow, I think.

[@kyrie0033]

I jumped from my chair, also.

[@michaeljohnangel6359]

@@stephaniek1076 The use of chiaroscuro dates back to the early 1400s.

[@michaeljohnangel6359]

@@jandmlewis4294 That's not what he said. In any case, the Flemish painters were doing that in the early 1400s. Take a look at van Eyck's "Man in the Red Turban" for example.

[@martinjohn2823]

Anyone else ended up here after they tried to write 'tomorrow' with swipe text?!

[@piushalg8175]

Luther's concept of the last supper is not correctly represented in this lecture. He did not claim that the bread and the wine of the last supper had to be taken symbolicly. In fact Luther insisted on the real presence of Christ in both wine and blood in the eucharist, but rejected the doctrine of transsubstantiation. This led famously to the so called struggle of the last supper with the swiss reformer Zwingli. The two of them met in the city of Marburg to settle the dispute. But none of them would yield. This marked one of the most important divisions between the Lutherans and other reformed churches, although a few decades ago some sort of hardly understandable compromise was achieved by some european churches (see Leuenberger Konkordie of 1973). Voltaire famously stated the differences. He said: The Calvinists (Zwinglians) eat bread, the Lutherans eat bread with Christ and the catholics eat Christ. .

[@stephaniek1076]

Lol...leave it to Voltaire!

[@uffa00001]

" In fact Luther insisted on the real presence of Christ in both wine and blood in the eucharist, but rejected the doctrine of transsubstantiation." So how can the presence of Christ be "real" if it is not in the matter, the substance? Real comes from res, rei which means "thing". A "real" thing is a material thing. If the presence is not "material", how can it be "real"?

[@flotompkins3253]

Would two girls on a each with a man