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Washington – When he was a teenager, Tintoretto was sent to the studio of the Italian Renaissance painter Titian, but was expelled a few days later because his old master had become jealous. Where does the legend go?
What emerges clearly from the first major retrospective on Tintoretto outside Europe, which opened Sunday at the National Gallery of Art in Washington, is that the critics of the "impetuous genius" repudiated for his free style and "unfinished" were a bold innovator whose impact can be felt today.
The exhibition, which debuted for the first director of the museum, Kaywin Feldman, comes right after the celebrations and shows held throughout the city, on the occasion of the artist's 500th birthday, in his hometown of Venice .
Jean-Paul Sartre described Tintoret as "the first filmmaker", a theatricality seen in paintings such as "The Conversion of St. Paul" (circa 1544).
The eponymous scene takes place in a corner of a canvas, dominated by extravagant and zigzagging brushstrokes left deliberately conspicuous – and then a groundbreaking innovation – to represent events such as horses running down an outside staircase.
The nearly 50 paintings and more than a dozen works on paper that cover the artist's career, visible until July 7, show just how much he has respected the slogan that He wrote on a wall when he was young: "The drawing of Michelangelo and the manipulation of Titian's painting." – AFP
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