Tintoretto: The “Traitor” of the Venetian School

Today’s master is Tintoretto, an important figure in the Venetian school of painting.

Tintoretto: The “Traitor” of the Venetian School

1. Tintoretto (1518-1594) and Titian represent the two extremes of the “dual opposition” within the Venetian school. Together, they symbolize the pinnacle of the Venetian school’s greatest achievements—like the light and darkness of Venetian painting, both are indispensable. Tintoretto stands apart within the Venetian school, embodying the self-reflection of the Venetian Renaissance. To truly understand the Venetian school, one must first understand Tintoretto.
2. Tintoretto is actually a nickname meaning “little dyer,” as his father was a dyer. He was a famous Venetian painter born in Venice and briefly studied under Titian. Tintoretto’s work both inherited and innovated upon Titian’s style, while also showing strong influence from Michelangelo. He combined the color techniques of Titian with the drawing style of Michelangelo, creating a distinctly personal artistic approach.
3. Tintoretto demonstrated a natural talent for painting from a young age. His father sent him to Titian’s studio as an apprentice, but after only ten days, he was sent back home. There are various theories about this: some say Titian was jealous of Tintoretto’s talent, while others suggest Titian thought Tintoretto was ready to develop as an independent artist. However, looking at later works, it seems the greatest difference between Tintoretto and his teacher lay in their conflicting approaches to painting.
4. Tintoretto is considered the “traitor” of the Venetian school because, unlike the Florentine tradition that emphasized “form,” the Venetian school was more focused on “color,” especially Titian’s extreme mastery of color. However, Tintoretto diverged in his use of color, supporting the painting principles of his “rival” Michelangelo, whom he greatly admired, especially for his drawing technique.
5. Tintoretto was largely self-taught. His recognition of Michelangelo’s style led him to adopt sculptural methods for mastering drawing. Before starting his paintings, Tintoretto would create a sculpture, place it in a wooden box, and use candlelight to study its angles through a small hole before painting. This method allowed him to continue practicing and studying his techniques even at night.
6. Tintoretto’s famous work The Finding of the Body of St. Mark tells the story of two Venetian merchants attempting to secretly remove the body of St. Mark from a mausoleum in Egypt. This painting clearly shows his differences with other Venetian masters like Titian and Bellini. The strict adherence to perspective in this piece is unusual for the Venetian school, which typically relied more on color. At first glance, it resembles a work of the Florentine Renaissance.
7. Tintoretto also broke from the stable compositional methods of the Venetian school, using extreme perspectives and deep focus to structure his compositions. The Finding of the Body of St. Mark is a suspenseful, dark, and dramatic piece, with intense conflict. Tintoretto uses a long corridor with great depth of field to meet these needs. Additionally, he skillfully uses depth of field as the diagonal line of the composition in The Last Supper, breaking from the tradition of placing the table horizontally in the center of the painting. Instead, the entire table is angled diagonally, and many servers are present alongside Jesus and the twelve apostles, creating a chaotic composition that heightens the sense of tension.
8. Tintoretto largely abandoned the Venetian school’s vivid colors, instead using darker tones to reflect the society of his time. He even painted the suffering brought about by plague. At the time, the Black Death was ravaging Europe, particularly in Venice, where 70% of the population died. The lack of efficient transportation and high population density often led to outbreaks. During Tintoretto’s middle years, a plague took the lives of a quarter of Venice’s population. During this period, he began using his art to depict the plague and the sins of humanity.
9. Tintoretto excelled in using darkness to highlight light, representing the self-reflection of Venetian art. His works often reflect on Venice’s decadent lifestyle over nearly a thousand years of its founding. He depicted tragic and sorrowful scenes while also showcasing Christ’s salvation of humanity, often with stark contrasts in color. Large areas of dark tones were used to emphasize the light of the central theme. Tintoretto’s art profoundly influenced later Baroque art and demonstrated that art capable of self-reflection is truly great.