Venice School of Painting (part 5)
The last great master of Venice of the 16th century, Jacopo Tintoretto, seems to be a complex and rebellious nature, a seeker of new paths in art, keenly and painfully experiencing the dramatic conflicts of modern reality.
Tintoretto introduces into her interpretation a personal, and often a subjectively arbitrary principle, subordinating human figures to certain unknown forces that scatter and circle them. By speeding up the prospective reduction, it creates the illusion of a rapid run of space, choosing unusual points of view and fancifully changing the outlines of figures. Simple, everyday scenes are transformed by the invasion of surreal fantasy light. At the same time, the world retains its grandeur, is full of echoes of great human dramas, clashes of passions and characters.
The greatest creative feat of Tintoretto was the creation of an extensive, consisting of more than twenty large wall panels and many ceiling compositions, of a painting cycle in Scuola di San Rocco, on which the artist worked for almost a quarter century – from 1564 to 1587. By the inexhaustible wealth of artistic imagination, by the breadth of the world embracing a universal tragedy of scale (“Golgotha”), and a miracle that transforms a poor shepherd’s hut (“Christmas of Christ”), and the mysterious grandeur of nature (“Mary Magdalene in the desert” ), and the high exploits of the human spirit (“Christ before Pilate”), this cycle has no equal in the art of Italy. Similar to the majestic and tragic symphony, he completes, along with other works by Tintoretto, the history of the Venetian Renaissance school of painting.