Tintoretto: Artist of Renaissance Venice

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Tintoretto: Artist of Renaissance Venice

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Күн бұрын

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.

Пікірлер: 54

@NashvilleMack 5 жыл бұрын

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

@th3painter728 2 жыл бұрын

One of favorite painters, Tintorretto

@henboker3 3 жыл бұрын

Thank you for this wonderful presentation this morning.

@normanstratford9329 5 жыл бұрын

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.

@bennyhill5663 4 жыл бұрын

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

@mountains7694 Жыл бұрын

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!

@anotherjewishsharpnicholas9425 2 ай бұрын

He has the eyes of a captured artist.

@maomaoj 5 жыл бұрын

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

@artist2739 2 жыл бұрын

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

@eldosen5996 3 жыл бұрын

Beautiful video. Thank you!

@CaterinaMigliore 4 жыл бұрын

Bellissimo video, grazie

@abbybocelli4213 3 жыл бұрын

Grazie mille.

@shamsjain4562 3 жыл бұрын

Excellent narrative

@rayhmassas3123 2 жыл бұрын

Thanks my brother j Massas really appreciate and enjoyed

@lunes-1 3 жыл бұрын

Great video,keep it up!🖼🎭

@pmajudge 2 жыл бұрын

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

@Gioviguru 6 ай бұрын

Thanks so much for this video ❤loved it ❤

@inmobiliariaare6936 4 жыл бұрын

Gracias.

@majorartistsworks4069 4 жыл бұрын

Excellent

@user-wp5gu2sy3f 2 ай бұрын

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.

@justasking506 Жыл бұрын

Salamat po.

@bnkundwa 4 жыл бұрын

The Greek and Latin cultures at their best.

@londonartweek7871 Жыл бұрын

Great!

@kyrie0033 2 жыл бұрын

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

@ruthgoldbloom9979 2 жыл бұрын

True!

@Rob-nh9cu 5 жыл бұрын

[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)

@gerryarty8342 4 жыл бұрын

Thanks :)

@doreekaplan6782 3 жыл бұрын

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

@mariopinot9884 4 жыл бұрын

Nice

@mahtab557 4 жыл бұрын

💗💗🙏👏👏👏

@danjamuco7155 4 жыл бұрын

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

@markahearn1 3 жыл бұрын

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

@BassGoBomb 3 жыл бұрын

Yes, jealousy.

@stephaniek1076 3 жыл бұрын

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 2 жыл бұрын

@@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".

@grandbaycentral5741 3 жыл бұрын

Wimbledon June 28 ✌

@RioYugo Жыл бұрын

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

@apogeeangel2387 2 жыл бұрын

0:18 looks like the guy who invented twitter

@earlsarcades 3 жыл бұрын

Tintoretto 1588 bunch

@earlsarcades 3 жыл бұрын

Tinotoretto 1588 bunch

@michaeljohnangel6359 3 жыл бұрын

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 3 жыл бұрын

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

@stephaniek1076 3 жыл бұрын

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

@kyrie0033 2 жыл бұрын

I jumped from my chair, also.

@michaeljohnangel6359 2 жыл бұрын

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

@michaeljohnangel6359 2 жыл бұрын

@@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 2 жыл бұрын

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

@piushalg8175 3 жыл бұрын

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 3 жыл бұрын

Lol...leave it to Voltaire!

@uffa00001 2 жыл бұрын

" 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"?