1518-1594 Italian painter. His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 ?C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.   Related Paintings of Jacopo Tintoretto :. | St Roch in Prison Visited by an Angel | Doge of Venice Gerolamo Priuli | Bacchus and Ariadne | Self-portrait. | Bacchus und Ariadne |
Related Artists:
Robert W. Weir
American Hudson River School Painter, 1803-1889,Painter and teacher. By his own account he was self-taught, with the exception of a few lessons from an unknown heraldic painter named Robert Cooke. However, after exhibiting a few works that were praised by the local press, he was sent to Italy by a group of New York and Philadelphia businessmen for further studies. There he trained with Florentine history painter Pietro Benvenuti. After three years in Europe (1824-7), he returned to New York, where he quickly became a mainstay of the artistic community. In 1831 he was elected to membership in the National Academy of Design in New York, and three years later he was made instructor of drawing at the US Military Academy in West Point, New York, a post he held for the next 42 years. Most scholars agree that he was more important as a teacher than as a painter. His best known work is the Embarkation of the Pilgrims (1837-43), which hangs in the Rotunda of the US Capitol Building in Washington, DC.
WILSON, Richard
Welsh Romantic Painter, ca.1713-1782 British landscape painter, b. Wales. He studied in London and achieved success as a portrait painter, but after a visit to Italy (c.1750?C1756) he devoted himself to landscape in the classical tradition of Claude Lorrain. The exhibition of Wilson's Niobe in 1760 won him acclaim, and he was made a member and later librarian of the Royal Academy. His work did not become generally popular until after his death. Although his Italian landscapes did not depart from the classical tradition of picturesque Roman ruins and recumbent nymphs, his work shows considerable originality and breadth of treatment, especially in his many fine paintings of English country houses. He exerted a strong influence on subsequent landscape painting in England. On Hounslow Heath (National Gall., London) and Afternoon and Lake Nemi
James Ensor
Belgian 1860-1949 Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as superficial daubers he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the colouristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. Ensor most memorable and influential work was almost exclusively produced before 1900, but he was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him in the middle of the war and painted his portrait (1930; Cologne, Wallraf-Richartz-Mus.); Alfred Kubin owned several of his prints, while Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master. He influenced many Belgian artists including Leon Spilliaert, Rik Wouters, Constant Permeke, Frits van den Berghe, Paul Delvaux and Pierre Alechinsky.