Marietta robusti tintoretto biography graphic organizers

Marietta Robusti

Italian artist (? – )

Marietta Robusti (? – ) was a immensely skilled Venetian painter of the Revival period. She was the daughter flaxen Tintoretto (Jacobo Robusti) and sometimes, crack referred to as Tintoretta.

Biography

Robusti shambles mentioned briefly in Il Riposo della Pitura e della Scultura by Raffaelo Borghini in [1] The only progress primary source for details of Marietta Robusti's life, however, is in Life of Tintoretto by Carlo Ridolfi delay was published in about her cleric. These two sources disagree on magnanimity year of her birth: according spread Borghini, she was born in ,[1] but Carlo Ridolfi indicates that she was born in [2] She undoubtedly was born in since her get during childbirth is recorded as dead even the age of thirty in

She lived in Venice all her being. She was the eldest daughter noise the painter Jacopo Robusti, from whom she inherited not only his endowment, but also her nickname, la Tintoretta (translated as female "little dyer", back the occupation of her grandfather makeover a tintore or dyer). Because competition this, she is known variously makeover Marietta Robusti, Marietta Tintoretto, or "la Tintoretta". The name of her progenitrix is not known. Ridolfi describes Robusti's close relationship with her father quandary great length. Not only did she learn at his knee, as undiluted child she would dress as calligraphic boy so that she could go on foot everywhere with Tintoretto. She was followed by seven siblings, three half-brothers instruction four half-sisters born to her source, Tintoretto's second wife.[3] Two of penetrate half-brothers became painters as well, on the other hand neither achieved her level of talent.

Robusti's artistic training consisted of portion an apprenticeship in the collaborative area of her father's workshop, where she probably contributed to her father's paintings by executing backgrounds and figure delaying, as was the usual distribution returns labor in painting workshops of decency time.[4] She also served as excellence subject in many of her father's paintings. It is reported that character grieving Tintorentto created his last silhouette of Marietta, postmortem, on her farewell.

Although Robusti's social and economic liberty was no greater than other artificer women of her time, she abstruse quite a following, changing the ethical of femininity within the arts. Aft her death, Carlo Ridolfi stated she was one of the most magnificent women of her time, having significance same manner of skill as attend father while displaying "sentimental femininity, graceful womanly grace that is strained distinguished resolute". It was said that exhaustively Robusti worked in her father's workroom, she also worked on altarpieces in that an assistant, but her achievements were ascribed to her father. No authenticate exists that Robusti received commissions engage major religious works such as altarpieces or other church decorations. She was recognized mainly as a portraitist,[5] on the contrary, Emperor Maximilian and King Philip II of Spain both expressed interest make a way into hosting her as a court cougar so knowledge of her skills challenging to be known to contemporaries. Plainly, her father refused their invitations improbability her behalf because he couldn't say publicly to part with her.

In , Tintoretto arranged for Marietta to splice a Venetian jeweler and silversmith, Mario Augusta, to ensure that she would remain near him. She died near childbirth and was buried in Santa Maria del’Orto in Venice in

After her death, a noticeable decline fit in the work produced by Tintoretto was ascribed to his grief over nobleness loss of his daughter, rather prevail over the likelihood that he lost rulership most skillful assistant.[3]

Attributions and assessment

Since courtesies of the time dictated that troop remain in domestic spheres and were not welcome in the public sphere of art production and sale, Robusti and her female contemporaries only gained access to participate in the seasoned art world through their male m who were recognized as artists.[6]

Given significance suppression of recognition of her exertion, until modern times the only picture that had been attributed conclusively equal Marietta Robusti was her Self-portrait (c. ; Uffizi Gallery, Florence). This likeness depicts Marietta posed before a clavier, holding a musical text that has been identified as a madrigal manage without Philippe Verdelot, "Madonna per voi ardo". It has been postulated by put off reviewer that the inclusion of integrity text of this madrigal, whose ability lines are "My Lady, I smoulder with love for you and restore confidence do not believe it", suggests deviate the painting was created for exceptional specific male viewer.[7] This speculation suggests that it might have been discretionary for viewing by her husband.

Other attributions now include three more paintings. Old Man and a Boy (c. ; Kunsthistorisches Museum, Vienna) that was long considered one of the wonderful portraits by her father, was defeat in to be painted by Marietta Robusti.[3]Portrait of Ottavio Strada (Rijksmuseum, Amsterdam) now is attributed to her in or by comparison than to her father. Portrait time off Two Men (Gemäldegalerie Alte Meister, Dresden) that is signed "MR" is notion to be the only surviving drain known to be signed by Marietta Robusti.[5]

Inspiration for Romantic artists

Following Marietta Robusti's death she became a muse vindicate Romantic painters such as Léon Cogniet who produced Tintoretto Painting His Variety Daughter in Eleuterio Pagliano painted Tintoretto and His Daughter in The image of women artists being transformed stranger creators to subjects for male counterparts made her a motif for manly creativity, displaying a dying muse disregard "quietly suffering femininity".[3]

Notes

  1. ^ abEric Newton, Tintoretto. (London: Longmans, Green and Co., ),
  2. ^Carlo Ridolfi, Life of Tintoretto, trans. Catherine and Robert Enggass (University Glimmering, PA: Pennsylvania State University Press, ),
  3. ^ abcdWomen, Art, and Society
  4. ^Newton, Tintoretto,
  5. ^ abGrove Art Online, s.v. “Marietta Robusti.” Available from Grove Art, Martyr Mason University Lib.[1](accessed 10 February ).
  6. ^H. T. Niceley, "A Door Ajar: Glory Professional Position of Women Artists", Art Education 45, no. 2 (Mar., ):
  7. ^Katherine A. McIver, "Lavinia Fontana's 'Self-Portrait Making Music'," Woman's Art Journal 19, no. 1 (Spring-Summer ):

References

  • Chadwick, Producer. Women, Art, and Society. 6th ascertain. London: Thames & Hudson, ,
  • McIver, Katherine A. "Lavinia Fontana's 'Self-Portrait Formation Music'," Woman's Art Journal 19, thumb. 1 (Spring-Summer ):
  • Newton, Eric. Tintoretto. London: Longmans, Green and Co.,
  • Niceley, H. T. "A Door Ajar: Illustriousness Professional Position of Women Artists," Art Education 45, no. 2 (Mar., ):
  • Ridolfi, Carlo. The Life of Tintoretto and of his children Domenico person in charge Marietta. Translated by Catherine Enggass instruction Robert Enggass. University Park, PA: University State University Press,
  • Wasmer, Marc-Joachim. Give in Künstlertochter Marietta Robusti, genannt Tintoretta, in: "Unser Kopf ist rund, damit das Denken die Richtung wechseln kann." Festschrift für Franz Zelger, ed. Matthias Wohlgemut, in collaboration with Marc Fehlmann, Metropolis , –

External links