Tintoretto Picture Study Aid and Art Prints

Tintoretto Picture Study Aid

Beautiful colours can be bought in the shops on the Riato, but good drawing can only be bought from the casket of the artist’s talent with patient study and nights without sleep.

Jacopo Robusti (Tintoretto)

If you’re wanting to add a 16-century Renaissance artist to your picture study time, Tintoretto is an excellent choice! This Venetian artist is known for his dramatic lighting and rich colors and is an enormous part of art history in Venice.

An interesting fact that has stuck with me and was shared by one of my professors in college about the Renaissance and Mannerist Venetian painters was their use of color and light. He explained that because the city is built on canals and light is always reflecting off the water, the light in Venice is different. The colors there seem to glow, and that reflection gives the light a much more dramatic effect. And in many ways, the art of Tintoretto personifies these characteristics of this ancient, multi-island city.

Unlike other well-known Renaissance artists whose work can be found throughout many different countries and continents, because of the nature of Tintoretto’s commissions – primarily in buildings within Venice – you can still see much of his work in situ, or in their original settings. There is something awe-inspiring about standing in front of a work of art that you know has been in the same spot, in the same room, since the artist painted the last stroke. Tintoretto was, and remains, Venetian through and through.

The intention of this picture study aid is to equip the home educator with some basic facts and understanding of a sampling of the work of Tintoretto. It is not meant to be an exhaustive analysis or study of each piece or a complete biography of the artist.

About picture study, Ms. Mason recommended keeping learning as simple as possible, especially in the younger years, and put extra emphasis on the images by themselves.

There is no talk about schools of painting, little about style; consideration of these matters comes in later life, the first and most important thing is to know the pictures themselves. As in a worthy book we leave the author to tell his own tale, so do we trust a picture to tell its tale through the medium the artist gave it. In the region of art as else-where we shut out the middleman. (vol 6 pg 216)

Definite teaching is out of the question; suitable ideas are easily given, and a thoughtful love of Art inspired by simple natural talk over the picture at which the child is looking. (PR Article “Picture Talks”)

…we begin now to understand that art is not to be approached by such an acadamised road. It is of the spirit, and in ways of the spirit must we make our attempt. We recognise that the power of appreciating art and of producing to some extent an interpretation of what one sees is as universal as intelligence, imagination, nay, speech, the power of producing words. But there must be knowledge and, in the first place, not the technical knowledge of how to produce, but some reverent knowledge of what has been produced; that is, children should learn pictures, line by line, group by group, by reading, not books, but pictures themselves. A friendly picture-dealer supplies us with half a dozen beautiful little reproductions of the work of some single artist, term by term. After a short story of the artist’s life and a few sympathetic words about his trees or his skies, his river-paths or his figures, the little pictures are studied one at a time; that is, children learn, not merely to see a picture but to look at it, taking in every detail.” (vol 6 pg 214)

This Picture Study Aid is meant to offer basic information about the artists as well as ready answers should your student ask about a particular aspect of a piece and the explanation isn’t readily evident. Ms. Mason emphasized not focusing on strict academic discourse when doing picture study, but rather simply exposing students to the art itself:

His education should furnish him with whole galleries of mental pictures, pictures by great artists old and new;––…––in fact, every child should leave school with at least a couple of hundred pictures by great masters hanging permanently in the halls of his imagination, to say nothing of great buildings, sculpture, beauty of form and colour in things he sees. Perhaps we might secure at least a hundred lovely landscapes too,––sunsets, cloudscapes, starlight nights. At any rate he should go forth well furnished because imagination has the property of magical expansion, the more it holds the more it will hold. (vol 6 pg 43)