Jacopo Robusti Tintoretto
(1518-1594)

 presented by Michael Vik

Tintoretto's home in Venice, Italy

Tintoretto's last Supper

Da Vinci's Last supper (1485)

The Presentation of the Virgin

The Day of Judgement

Saint Mark Freeing the Slave

Saint Mark Saving the Saracen

Saint George and the Dragon

The stealing of the body of Saint Mark

The Conversion of Saint Paul

The Crucifixion

Christ at the Sea of Galilee (1580)

Origins of the Milky Way

Tintoretto's Procurator

Susanna and the Elders

Vulcanis Takes Mars and Venus Unaware

Caino E Abele

Christ in the House of Martha and Mary

Glorification of Saint Roth

The degree to which the mannerists rejected the guiding principles of High Renaissance painting is nowhere better illustrated than by a comparison of The Last Supper (top) by the Venetian artist Jacopo Tintoretto (1518-1594) with the fresco of the same subject by Leonardo da Vinci executed approximately a century earlier (bottom). In his rendering of the sacred event, Tintoretto renounces the symmetry and geometric clarity of Leonardo's composition. The receding lines of the table and the floor in Tintoretto's painting place the viewer above the scene and draw the eye toward a vanishing point that lies in a distant and uncertain space beyond the bounds of the canvas. The even texture of Leonardo's fresco gives way in Tintoretto's canvas to vaporous contrasts of dark and light, produced by a smoking oil lamp. Clouds of angels flutter spectrally at the ceiling, and phosphorescent halos seem to electrify the figures of the apostles. At the most concentrated burst of light, the Savior is pictured distributing bread and wine to the disciples. While Leonardo focuses on the human element of the Last Supper--the moment when Jesus acknowledges his impending betrayal--Tintoretto illustrates the superhuman and miraculous moment when Jesus initiates the sacrament by which the bread and wine become his flesh and blood. Yet Tintoretto sets the miracle amidst the ordinary activities of household servants, who occupy the entire right hand portion of the picture. (From: The Humanistic Tradition by Gloria K. Fiero (McGraw?Hill 1998) pp. 11-13.)

http://www.tigtail.org/TVM/M_View/X1/c.Mannerism/tintoretto/tintoretto.html

El Greco
(Doménikos Theotokópoulos)

born: Candia [now Iráklion], Crete; 1541
died: Toledo, Spain; 7 April 1614

A View of Toledo, Spain

Agony in the Garden

Cardinal Guevarra

Saint Paul

Portrait of a Lady

repentant Saint Peter

Saint peter and the Beggar

the Holy Family

the Painter

Saint Paul and Saint Francis

Christ on a Cross (1590)

The fifth sign or Revelation

Trinity

His common name means "The Greek". Born in Crete, El Greco studied with Titian, then left Italy and settled in Spain. He acquired his common name in Italy, but usually signed his paintings in Greek letters with his full name.

Many El Greco pictures are in the Prado Museum in Madrid.

http://www.tigtail.org/TVM/M_View/X1/c.Mannerism/el-greco/el_greco.html