Tintoretto: Perbedaan antara revisi
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{{Infobox
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|name = Tintoretto
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|training = belajar sebentar pada [[Titian]]
|movement = Italian Renaissance
|works =
|patrons =
|influenced by =
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'''Tintoretto''' (nama aslinya '''Jacopo Comin'''; {{lahirmati|[[Venesia]], [[Provinsi Venezia|Venezia]], [[Veneto]], [[Italia]]|29|9|1518|[[Venesia]], [[Provinsi Venezia|Venezia]], [[Veneto]], [[Italia]]|31|5|1594}}) adalah salah seorang pelukis terbesar dari aliran [[Venesia]] dan mungkin adalah pelukis besar terakhir dari zaman [[Renaissance Italia]]. Pada masa mudanya, ia juga dipanggil '''Jacopo Robusti''', karena ayahnya dulu pernah mempertahankan gerbang kota [[Padova]] dalam suatu cara yang cukup keras melawan pasukan kekaisaran. Nama aslinya "Comin" hanya baru-baru ini saja ditemukan oleh Miguel Falomir, [[kurator]] ''Museo del Prado'', [[Madrid]], dan disebarkan kepada publik dalam acara Retrospeksi Tintoretto di Prado pada tahun 2007. Comin bermakna tumbuhan [[jintan putih]] (Bahasa Inggris: ''cumin'') dalam bahasa setempatnya.<ref>{{Cite web |url=http://www.cbc.ca/arts/artdesign/story/2007/01/21/tintoretto-name.html?ref=rss |title=Spanish curator uncovers true name of Tintoretto |access-date=2007-03-12 |archive-date=2007-03-12 |archive-url=https://web.archive.org/web/20070312111352/http://www.cbc.ca/arts/artdesign/story/2007/01/21/tintoretto-name.html?ref=rss |dead-url=no }}</ref>
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Tintoretto had only been ten days in the studio when Titian sent him home once and for all, the reason being that the great master observed some very spirited drawings, which he learned to be the production of Tintoretto; and it is inferred that he became at once jealous of so promising a scholar¹. This, however, is mere conjecture; and perhaps it may be fairer to suppose that the drawings exhibited so much independence of manner that Titian judged that young Jacopo, although he might become a painter, would never be properly a pupil.
From this time forward the two always remained upon distant terms, Tintoretto being indeed a professed and ardent admirer of [[Titian]], but never a friend, and Titian and his adherents turning the cold shoulder to him. Active disparagement also was not wanting, but it passed unnoticed by Tintoretto. The latter sought for no further teaching, but studied on his own account with laborious zeal; he lived poorly, collecting casts, bas-reliefs, &c., and practising by their aid. His noble conception of art and his high personal ambition were evidenced in the inscription which he placed over his studio ''Il disegno di Michelangelo ed il colorito di Tiziano'' ("[[Michelangelo]]'s design and [[Titian]]'s color").
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[[Berkas:Madonna with Child,Tintoretto.jpg|thumb|right|''Madonna dengan Sang Putra dan Dermawan'', [[National Museum of Serbia]],[[Belgrade]]]]
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[[Berkas:Jacopo Tintoretto - Finding of the body of St Mark - Yorck Project.jpg|jmpl|300px|''Penemuan Tubuh Santo Markus'' (1548).]]
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===Early works===
The young painter [[Andrea Schiavone]], four years Tintoretto's junior, was much in his company. Tintoretto helped Schiavone gratis in wall-paintings; and in many subsequent instances he worked also for nothing, and thus succeeded in obtaining commissions. The two earliest mural paintings of Tintoretto - done, like others, for next to no pay - are said to have been ''Belshazzar's Feast'' and a ''Cavalry Fight''. These are both long since perished, as are all his frescoes, early or later. The first work of his to attract some considerable notice was a portrait-group of himself and his brother - the latter playing a guitar - with a nocturnal effect; this also is lost. It was followed by some historical subject, which Titian was candid enough to praise.
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===Saint Mark paintings===
Towards 1546 Tintoretto painted for the church of the [[Madonna dell'Orto]] three of his leading works - the ''Worship of the Golden Calf'', the ''Presentation of the Virgin in the Temple'', and the ''Last Judgment'' now shamefully repainted. He took the commission for two of the paintings, the ''Worship of the Golden Calf'' and the ''Last Judgment'', on a cost only basis in order to make himself better known.<ref>{{CathEncy|wstitle=Il Tintoretto}}</ref> He settled down in a house hard by the church. It is a Gothic edifice, looking over the lagoon of [[Murano]] to the [[Alps]], built in the [[Fondamenta de Mori]], which is still standing. In 1548 he was commissioned for four pictures in the Scuola di S. Marco - the ''Finding of the body of St Mark in Alexandria'' (now in the church of the Angeli, Murano), the ''Saint's Body brought to Venice'', a ''Votary of the Saint delivered by invoking him from an Unclean Spirit'' (these two are in the library of the royal palace, Venice), and the highly and justly celebrated ''Miracle of the Slave''. This last, which forms at present one of the chief glories of the Venetian Academy, represents the legend of a Christian slave or captive who was to be tortured as a punishment for some acts of devotion to the evangelist, but was saved by the miraculous intervention of the latter, who shattered the bone-breaking and blinding implements which were about to be applied.
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[[Berkas:Accademia - St Mark's Body Brought to Venice by Jacopo Tintoretto.jpg|jmpl|300px|''Tubuh Santo Markus Dibawa ke Venesia'' (1548).]]
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Tintoretto next launched out into the painting of the entire scuola and of the adjacent church of S. Rocco. He offered in November 1577 to execute the works at the rate of 100 ducats per annum, three pictures being due in each year. This proposal was accepted and was punctually fulfilled, the painter's death alone preventing the execution of some of the ceiling-subjects. The whole sum paid for the scuola throughout was 2447 ducats. Disregarding some minor performances, the scuola and church contain fifty-two memorable paintings, which may be described as vast suggestive sketches, with the mastery, but not the deliberate precision, of finished pictures, and adapted for being looked at in a dusky half-light. ''Adam and Eve'', the ''Visitation'', the ''Adoration of the Magi'', the ''Massacre of the Innocents'', the ''Agony in the Garden'', ''Christ before Pilate'', ''Christ carrying His Cross'', and (this alone having been marred by restoration) the ''Assumption of the Virgin'' are leading examples in the scuola; in the church, ''Christ curing the Paralytic''.
It was probably in 1560, the year in which he began working in the Scuola di S. Rocco, that Tintoretto commenced his numerous paintings in the ducal palace; he then executed there a portrait of the doge, [[Girolamo Priuli]]. Other works which were destroyed in the great fire of 1577 succeeded - the ''Excommunication of [[Frederick Barbarossa]] by [[Pope Alexander III]]'' and the ''Victory of [[Lepanto]]''.
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[[Berkas:Jacopo Tintoretto 030.jpg|jmpl|350px|''Pembebasan Arsenoe'' (c. 1560).]]
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We here reach the crowning production of Tintoretto's life, the last picture of any considerable importance which he executed, the vast ''Paradise'', in size 74 ft. by 30, reputed to be the largest painting ever done upon canvas. It is a work so stupendous in scale, so colossal in the sweep of its power, so reckless of ordinary standards of conception or method, so pure an inspiration of a soul burning with passionate visual imagining and a hand magical to work in shape and color, that it has defied the connoisseurship of three centuries, and has generally (though not with its first Venetian contemporaries) passed for an eccentric failure; while to a few eyes it seems to be so transcendent a monument of human faculty applied to the art pictorial as not to be viewed without awe.
While the commission for this huge work was yet pending and unassigned Tintoretto was wont to tell the senators that he had prayed to God that he might be commissioned for it, so that paradise itself might perchance be his recompense after death. Upon eventually receiving the commission in 1588 he set up his canvas in the [[Scuola della Misericordia]] and worked indefatigably at the task, making many alterations and doing various heads and costumes direct from nature.
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[[Berkas:Accademia - Miracle of the Slave by Tintoretto.jpg|jmpl|400px|''Keajaiban Sang Budak'' (1548).]]
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In 1592 he became a member of the ''Scuola di Mercanti''.
In 1594, he was seized with severe stomach pains, complicated with fever, that prevented him from sleeping and almost from eating for a fortnight. Finally, on [[May 31]], [[1594]] he died. He was buried in the church of the Madonna dell'Orto by the side of his favorite daughter [[Marietta Comin|Marietta]], who had died in 1590 at the age of thirty.
Tradition suggests that as she lay in her final repose, her heart-stricken father had painted her final portrait.
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Tintoretto had very few pupils; his two sons and [[Martin de Vos]] of [[Antwerp]] were among them. His son Domenico (1562-1637) frequently assisted his father in the groundwork of great pictures. He himself painted a multitude of works, many of them of a very large scale. At best, they would be considered mediocre and, coming from the son of Tintoretto, are exasperating. In any event, he must be regarded as a considerable pictorial practitioner in his way. There are reflections of Tintoretto to be found in the Greek painter of the [[Spanish Renaissance]] [[El Greco]], who likely saw his works during a stay in Venice.
==Style of life and assessment==
Tintoretto scarcely ever travelled out of Venice. He loved all the arts and as a youth played the [[lute]] and various instruments, some of them of his own invention, and designed theatrical costumes and properties. He was also versed in mechanics and mechanical devices while being a very agreeable companion. For the sake of his work, he lived in a mostly retired fashion, and even when not painting was wont to remain in his working room surrounded by casts. Here he hardly admitted any, even intimate friends, and he kept his mode of work secret, with the exception of his assistants. He abounded in pleasant witty sayings, whether to great personages or to others, but he himself seldom smiled. [[Berkas:Tintosoup.jpg|thumb|300px|''The Last Supper'' (1594).]]
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