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Last updated: 1/25/2017
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Old Master Drawings and Prints: Tintoretto (Jacoppo Robusti, Venice, 1518-1594)

North Italian Illuminated Manuscript / Italian Old Master Drawings: An Overview / Italian School, 16th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Giulio Romano / Perino del Vaga / Marcantonio Raimondi / Parmigianino
Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Taddeo Zuccaro / Federico Zuccaro / Alessandro Casolani
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci / Ludovico Carracci

Italian School, 17th-Century Drawings / Bolognese School / Giovanni Baglione / Matteo Rosselli / Ercole Bazzicaluva
Baldassare Franceschini called Il Volterrano / Pier Francesco Mazzuccelli, il Morazzone / Odoardo Fialetti / Simone Cantarini
Domenichino / Francesco Albani / Giovanni Lanfranco / Guercino / Pier Francesco Mola / Antonio Busca

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1497 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Giulio Bonasone / Giovanni Battista Franco /Girolamo Fagiuoli / Cherubino Alberti
Titian (after) / Tintoretto (after) / Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci
Agostino Carracci / Simone Cantarini / Elisabetta Sirani / Gerolamo Scarsello

Netherlandish School 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Abraham de Bruyn, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Maarten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck

German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Johann Heinrich Roos
German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair,
Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Hans Holbein (After), Hopfer Brothers, Georg Pencz, Hans Schäufelein,
Virgil Solis, Wolfgang Stuber.

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: School of Fontainebleau / Etienne Delaune / Rene Boyvin /Thomas de Leu / Jean Cousin the Younger
Jacques Callot / Abraham Bosse / Sebastien Bourdon / Claude Gelle "le Lorraine" / Jean LePautre
Claudine Bouzonnet Stella / Antonette Bouzonnet Stella / Gabriel Perelle

19th-Century Drawings / 20th-Century Drawings
Tintoretto had a sign in his workshop saying that here could be found "the drawing of Michelangelo and the color of Titian," and it is clearly Titian's color that most 16th-century viewers found overwhelming. Vasari, in his "Life of Titian" (in Part III of The Lives of the Painters, Sculptors, and Architects) reports that Sebastiano de Piombo remarked that "if Titian had gone to Rome and seen the works of Michelangelo, Raphael, and the ancient statues there, and had studied design ("disegno" in Italian combines the meanings of both "drawing" and "design"), he would have produced stupendous things, seeing his skill in coloring, in which he deserves to be called the best maser of our day for his imitation of natural tints; and with a foundation of great draughtmanship he would have overtaken the Urbinate [Raphael] and Buonarroto [Michelangelo] (Everyman edition, III: 200-201)." Vasari later confirms Sebastiano's judgment by telling of a visit that he and Michelangelo made to Titian's studio in Rome: "After they had gone, Buonarroti criticized Titian's methods, prasing him a good deal, and saying that he liked his coloring and style, but that it was a pity that good design was not taught at Venice from the first, and that her best painnters did not have a better method of study. If this man, he said, were aided by art and design as he is by Nature, especially in copying from life, he would not be surpassed, for he has ability and a charming and vivacious style" (Everyman edition, III: 206-207). Very few of Titian's drawings survive, partly because he worked in oil not fresco and drew directly on his canvases, but despite the criticism of his drawing or lack of it, Titian did not lack noble patrons including the Emperor Charles V, his son, Philip II, the King of Spain, various princes and dukes, popes and cardinals, and a lifetime worth of Venetian Doges. With such a widespread group of admireres, it is not surprising that engravers stepped forward to spread his fame by reproducing his most famous paintings and that woodcutter followed his example in his 1508 epic woodcut of The Triumph of the Faith, a work Vasari categorizes as "displaying vigor, style, and knowledge. The engravings and woodcut below reflect part of the widespread demand for works designed by Titian.

Selcted Bibliography: Roland Krischel, Masters of Italian Art: Jacopo Tintoretto 1519-1594 (Cologne: Konemann, 2000); Tom Nichols, Tintoretto: Tradition and Identity (London: Reaktion Books, 1999 [large- format paperback available for purchase new: $25]); Carlo Ridolfi, The Life of Tintoretto and of his children Domenico and Marietta, trans. Catherine and Robert Enggass (University Park: Pennslyvania State University Press,1984); David Rosand, Painting in Cinquecento Venice: Titian, Veronese, Tintoretto (New Haven: Yale University Press, 1982); Cornelia Syre, ed., Tintoretto: The Gonzaga Cycle (Munich: Hatje Cantz,2000); Jacopo Robusti Tintoretto, La Mostra del Tintoretto (Venezia ca' Pesaro: 1937); Francesco Valcanover, Jacopo Tintoretto and the Scuola Grande of San Rocco (Venice) (Venice: Stoti Edizioni, 1999 [this is the guide book in English to Tintoretto's painting cycle available at the Scuola: large-format paperback available for purchase : $20]); Henri Zerner et al, ed., The Illustrated Bartsch 32: Italian Masters of the 16th Century: Parmigianino, Master F.P., Meldolla, Schiavone, Titian, Marconi, Tintoretto, Bresciano, Franco, P. Farinati, H. Farinati, del Moro, Fontana, Valentinis (NY: Abaris Books,1979).
Venetian School, The Holy Family. Brush and brownish red ink and pencil with white gouache, Venice, late 16th-early 17th century. A beautiful drawing on thin cream laid paper heightened with a prepared rose wash ground. There is an early attribution to Tintoretto on the verso (visible just above and to te right of the Virgin's head. The rich color and loose drawing make the attribution a possibility. The white areas are much whiter than they appear above. Image size: 140x187mm. Price: HOLD.
John John Baptist Jackson (English, c. 1700-c. 1777), The Crucifixion. Original 1741 chiaroscuro woodcut, after Tintoretto’s Crucifixion (Kainen 22) in the Scuola di San Rocco in Venice. Edition unknown. Jackson was the last of the great chiaroscuro woodcut masters. His works have been studied in a monograph by Jacob Kainen published by the Smithsonian Institution. Image size: 571x410mm. Price: $1850.

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