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1	Tintoretto's Sala Grande in the Scuola di San Rocco Gilman, Isabel. January 1975 (has links) Thesis (M.A.)--University of Wisconsin--Madison, 1975. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references. Tintoretto,
2	Theatricality in Tintoretto's religious paintings Pham, Van Khanh January 1995 (has links) Tintoretto, one of the great Venetian masters of the sixteenth century, is renowned for his compositional innovations. The painter also worked as a stage and costume designer for the Compagnie della Calza. As a result, he selected and combined elements of other disciplines in his pictures. / This thesis focuses on the fusion of the arts in Tintoretto's imagery. A comprehensive analysis of this interdisciplinary aspect reveals the subtlety of Tintoretto's creative mind. The challenge is to discover Tintoretto as a stage designer who conceived pictures as theatrical performances. Instead of the traditional preparatory sketch, he built a miniature stage in order to visualize the scene in tangible forms existing in light and space. The design of the setting, the gestural choreography of his personages and the distribution of lighting were analysed and then translated into painted illusion. With this unusual methodology, Tintoretto invented forceful mise-en-scenes which induce the spectator to perceive the imaginary as real. A substantial knowledge of stagecraft also enabled him to bring to vibrant life the dramatic episodes of the Bible on canvas. Through such artfully constructed theatrical illusion, Tintoretto not only re-creates a vision for his audience, but above all, conveys the depth of his spiritual experience.
3	Mystical and Evangelical Reform in Tintoretto's Sala dell'Albergo McFaddin, Read Godard, 1984- 06 1900 (has links) xiii, 142 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Tintoretto's four-painting Passion cycle in the Sala dell'Albergo of the Scuola Grande di San Rocco in Venice has generated dramatic and affective responses from artists and critics since its completion in the late 1560s. While scholars have addressed the cycle's formal qualities that stimulate such responses, the context surrounding the cycle has not been fully explored. The city was a refuge for reformers and the printing center for potentially heretical writing in the sixteenth century. Tintoretto maintained relationships to members of the reformist poligrafi, and the Passion cycle responds to the mystical theologies propagated in widely disseminated works from Ignatius of Loyola's officially sanctioned treatise, Spiritual Exercises, to the more controversial work of Don Benedetto and Marcantonio Flaminio, the Beneficio di Cristo. This thesis constructs a strong relationship between Tintoretto' s work in the Sala dell'Albergo and contemporary mystical and evangelical reformative theology and activity in the city. / Committee in Charge: Dr. James G. Harper, Chair; Dr. Lauren G. Kilroy; Dr. Kate Mondloch
4	A ESTÉTICA DO IRREAL: Considerações sobre a arte em Jean-Paul Sartre HOSTE, V. X. 06 March 2017 (has links) Made available in DSpace on 2018-08-01T23:46:14Z (GMT). No. of bitstreams: 1 tese_10680_Dissertação Vinicius - Versão Final.pdf: 1201569 bytes, checksum: c766db0caff1b8ae4d85faa141fc5e1d (MD5) Previous issue date: 2017-03-06 / Falar de arte no pensamento de Jean-Paul Sartre é entrar em um campo ambíguo, é transitar entre o imaginário e a percepção, entre o sentido e o significado, entre a crítica e a alienação. De fato, são justamente essas ambiguidades que abordaremos neste trabalho, não com o intuito de solucioná-las, mas a fim de mostrar como o filósofo francês utiliza-se delas para construir sua reflexão sobre a arte. Tentaremos, então, mostrar como toda obra de arte, mesmo sendo uma irrealidade, não exclui a dimensão perceptível. Em seguida, buscaremos elucidar o modo como essa dimensão irreal abre a possibilidade tanto de uma arte crítica quanto de uma arte alienante, mostrando, além disso, que essa oposição não se identifica com a distinção entre artes significantes e não-significantes. Por fim, buscaremos explicar como uma obra de arte pode manifestar concretamente sua crítica ou sua alienação, e que isso não deriva única e exclusivamente do artista, mas depende também da atitude do público. Arte Imagem Alienação Crítica Tintoretto
5	Theatricality in Tintoretto's religious paintings Pham, Van Khanh January 1995 (has links) No description available.
6	Unraveling Canvas: from Bellini to Tintoretto Nisse, Cleo January 2024 (has links) Over the course of the fifteenth and sixteenth centuries, canvas substituted panel or wall as the preferred support for painting in Venice, moving from the periphery to the core of artmaking. As it did so, canvas became key to the artistic processes and novel pictorial language developed by painters like Titian, Tintoretto and Veronese. Sixteenth-century critics associated canvas with painting in Venice, a connection that has persisted to become a veritable trope of Venetian art history. Despite this, we have hitherto lacked a convincing account of Venetian canvas supports and their impact. This dissertation, by examining the adoption, development, and significance of canvas in Venetian art over the period 1400 to 1600, attempts to provide one. Approaching canvas from multiple perspectives, this project offers a deeper understanding of what early modern canvas was at a material level, how it was made and supplied to painters, and its catalyzing role in early modern Venetian art. By tracing precisely how canvas operates within paintings, focusing on lodestar examples whilst drawing on extensive and intensive object-based research carried out on a large corpus, this thesis demonstrates how actively canvas participated in the elaboration of the pictorial poetics of mature Cinquecento art in Venice. It argues that we owe the existence of this distinctive artistic idiom in no small part to the twist of a yarn, the roughness of a thread, the thickness of a stitch. Canvas was critical to both the making and the meaning of these pictures. The wider aims of the project are twofold: on the one hand, to model a methodology that integrates approaches such as visual, textual, and sociocultural analysis with technical art history and conservation-informed comprehension of the materially altered nature of art objects; on the other, to contribute to an account of the history of an art form—the canvas picture—that still occupies a central role in the global art world today. Painting, Italian Painting, Renaissance Canvas Fifteenth century Sixteenth century Titian, approximately 1488-1576 Tintoretto, 1518-1594 Veronese, 1528-1588
7	Paolo Fiammingo v Benátkách / Paolo Fiammingo in Venice Koubková Novotná, Věra January 2011 (has links) Thesis on subject of Paolo Fiammingo in Venice focuses on a personality of a Netherlandish painter, who lived in Venice the most important part of his productive life. Text of the thesis resumes knowledge on his origin, regarding existing literature it suggest, that there is not enough documentation of his staying or apprenticeship until he came to Venice. In this regards, it also concludes, that he was not famous until he took part in Tintoretto's workshop in Veneto. Thesis researches possible Tosca and Roma mannerism influences of his later works by an analysis his later work and in the light of existing literature. Main part of the thesis concerns on Paolo's sojourn in Venice, which started probably in Tintoretto's workshop. Within workshop daily praxis, he was contributing in finishing some specific commissions of his Master with his apprentice colleagues. Thesis brings some witnesses concerning workshop life and also way the completed work took from the workshop to commissioner. The other part of this work turns awareness to his independent production in Venice and its close connection to his transalpine commissions. The part concludes in suggestions concerning the case of Fiammingo and his concrete purchasers, the Augsburg merchandiser Hans Fugger and the Emperor Rudolf II. It also mentions a...
8	Jaromír Neumann: znalec benátské malby / Jaromír Neumann: The connoisseur of Venetian painting Lišková, Julie January 2014 (has links) The work is dedicated to the personality Jaromír Neumann as an expert of Venetian painting in our country, whose approach is documented on a number of paintings from several institutions, which autorship determinated. Specifically, the images of the Prague Castle Picture Gallery, National Gallery in Prague, Olomouc Picture Gallery and significant Titian painting of Kroměříž Picture Gallery, which concentrated his interest for a long time. These are the works of painter's family Bassano, Paolo Veronese, Jacopo and Domenico Tintoretto, Bonifazio Veronese, Rocco Marconi, Pordenone and Titian. More generally, the work deals with issues of connoisseurship and restoration, but is not the purpose of extensive analysis, the more necessary as outlined in the context of the theme of the work. The result should be the definition and specification process of Neumann's autorship determination and the pursuit of affect key points that form its determination.
9	The Triumph of the Eucharist in the Paintings for the Sala dell’Albergo and the Sala Superiore in the Scuola Grande di San Rocco by Jacopo Tintoretto (ca. 1518/19-1594) David, L. Kencik 22 September 2020 (has links) No description available. Art History Bible Religious History Medicine Europe Italy Venice Renaissance San Rocco Saint Roch Confraternity Scuola Grande Eucharist Plague Tintoretto 16th century Sixteenth century Brazen Serpent Manna Moses Passion Pilate Ceiling Antonio Zanchi Pietro Negri pizzigamorti
10	Beyond Titian's Venus: The Nude Body and Social Control in Late Cinquecento Venetian Painting Koncz, Caroline Delia 07 September 2022 (has links) No description available. Art History Gender Studies Womens Studies Literature History

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