Tintoretto, (1518–1594)
Finding of the body of Art, Bible, biography, Christ, Classical, CONTEMPORARY, Figurative, Fine Art, footnotes, History, Icons, Jesus, mythology, Paintings, Realism, religion, RELIGIOUS, Zaidan, , circa 1562
Oil on canvas
405.2 × 405.2 cm (13.2 × 13.2 ft)
Pinacoteca di Brera
Tommaso Rangone, “grand guardian” of the Scuola di San Marco in Venice, commissioned Tintoretto in 1562 to paint a cycle depicting episodes associated with the saint, which the artist had completed by 1566. The cycle of large canvases, one of which is the Pinacoteca’s Finding of the Body of Saint Mark, recounted not only the saint’s life but also miracles in which he is alleged to have had a hand. This painting shows the moment when, as the Venetians are busy removing corpses from tombs in their search for Saint Mark’s body, the saint appears to them and imperiously commands them to stop because his body has already been removed from the tomb at the end of the room and is lying at their feet. The presence of a man possessed by devils on the right of the composition adds to the miraculous tone of the episode, which is being observed by the patron Rangone clad in attire befitting his rank. The artist, a skilled narrator, depicts the miracle as though it were taking place on a stage, forcing his “actors” to adopt theatrical and emphatic poses. The observer, or in this case the spectator, is drawn into the heart of the action by the dizzying foreshortening that impresses a profound acceleration on the picture’s spatial depth accentuated by the play of light on the arcades; the dark is split by flashes of light, underscoring the crucial elements in the story, emphasising the volume of the figures and amplifying the unnatural, ghostly pallor of the corpses. More on this painting
Tintoretto, (1518–1594)
Recovery of the corpse of St. Mark
Oil on canvas
421 x 306 cm
Gallerie dell’Accademia, Venice, Italy
Saint Mark, (flourished 1st century), traditional author of the second Synoptic Gospel. Data on his life found in the New Testament are fragmentary, and most of their historicity has been questioned by critical investigation. That Mark was St. Barnabas’ cousin in Colossians 4:10 may also be authentic.
According to Acts, his mother’s house in Jerusalem was a centre of Christian life, and he accompanied Barnabas and Paul to Antioch (12:25), now Antakya, Tur., where he became their assistant on a mission journey. When they arrived at Perga (near İhsaniye, Tur.), Mark left them and returned to Jerusalem. Mark’s leaving caused Barnabas and Paul to separate, for Paul declined Barnabas’ insistence on giving Mark another chance. Subsequently, Mark sailed to Cyprus with Barnabas, never to be mentioned again in Acts. The dependability of the Acts account is questionable, for its author is particularly interested in explaining the breach between Paul and Barnabas, probably introducing Mark for this reason. In this, he contradicts Paul’s account of their breach in Galatians.
A close relationship between Mark and St. Peter is suggested by the greetings from “my son Mark”; furthermore, the Apostolic Father Papias of Hierapolis says that Mark’s treatise was based on Peter’s teaching about Jesus. Later tradition assumes that Mark was one of the 72 disciples appointed by Jesus and identifies him with the young man fleeing naked at Jesus’ arrest. The Egyptian church claims Mark as its founder, and, from the 4th century AD, the see of Alexandria has been called cathedra Marci (“the chair of Mark”). Other places attributing their origin to Mark are the Italian cities of Aquileia and Venice, of which he is the patron saint. His symbol is the lion. More on Saint Mark
Tintoretto; born Jacopo Comin, (October,
1518 – May 31, 1594) was an Italian painter and a notable
exponent of the Renaissance school. For his phenomenal energy in painting he
was termed Il Furioso. His work is characterized by its muscular figures,
dramatic gestures, and bold use of perspective in the Mannerist style, while
maintaining color and light typical of the Venetian School.
In his youth, Tintoretto was also known as Jacopo Robusti
as his father had defended the gates of Padua in a way that others called
robust, against the imperial troops during the War of the League of Cambrai
(1509–1516). His real name "Comin" has only recently been discovered
by Miguel Falomir, the curator of the Museo del Prado, Madrid, and was made
public on the occasion of the retrospective of Tintoretto at the Prado in
2007. More on
Tintoretto
Please visit my other blogs: Art
Collector, Mythology, Marine
Art, Portrait of a Lady, The
Orientalist, Art of the Nude and The Canals of
Venice, And visit my Boards on Pinterest
Images are copyright of their
respective owners, assignees or others. Some Images may be subject to copyright
I don't own any of these images -
credit is always given when due unless it is unknown to me. if I post your
images without your permission, please tell me.
I do not sell art, art prints, framed
posters or reproductions. Ads are shown only to compensate the hosting
expenses.
If you enjoyed this post, please share
with friends and family.
Thank you for visiting my blog and also
for liking its posts and pages.
No comments:
Post a Comment