The event is portrayed in a painting by Tintoretto, The Siege of Asola. As the description of this work matches the present painting, it would be an interesting possibility to identify them as one and the same. In the background, and left and centre foreground, Tintoretto shows the town under siege from Austrian troops, under the command of Maximilian I, Holy Roman Emperor, in March 1516. A period of relative calm and stability followed before Maximilian set siege to the city, in an attempt to gain control of Lombardy, as part of the so-called War of the League of Cambrai. The present picture shows a battle, described in violently agitated terms, seemingly fractured into multiple episodes of death and salvation. He dared to tackle improbably grand canvases and frescoes, where the latter were still painted, with the precise intent to showcase his skill to potential patrons.
Although there is no reference in this episode to elephants, it can be assumed that this is an imaginative addition to the story. This is a representation of David, about to strike the final blow to his vanquished opponent, Goliath. Maximilian eventually turned back, having failed to reach Milan and by the end of 1516 he had ceded claims to Lombardy, ushering in a period of peace. The present picture is extraordinary because the combat of David and Goliath is seldom shown in the context of a major battle scene. It received the honorary title of city with a presidential decree of October 23, 1951. The tradition of using oversize, usually horizontal, canvas supports, or teleri, for grand narrative pictures and decorative cycles began in the city in the 15th century, when canvas was favoured over fresco, given the tendency of the latter to degrade in the humid air of the lagoon.
By its very nature, the tradition of the telero invited the artist to be ambitious: compositions had to captivate and feed a sense of the epic in both narrative content and painterly execution. Pallucchini, La giovinezza del Tintoretto. Born the son of a dryer, Tintoretto the little dyer exhibited exceptional talent at a very young age. Some characters and ideas were abandoned during the painting´s development. Kritische Studien über des Meisters Werke', in Repertorium für Kunstwissenschaft, vol. The artist died on May 31, 1594 in Venice, Italy.
In an attempt to refine his style, Tintoretto studied both Titan and with the steadfast goal of surpassing these painters both style and brilliance. The story is told in Samuel 1:17, where it is written that David killed the unconscious Philistine with his own sword. Tintoretto, Jacopo Robusti was perhaps one of the most gifted and influential artists of the 16th century. He is often said to herald a Baroque style of painting. The present painting appears to be previously unpublished and it is therefore a spectacular and important addition to the oeuvre of Jacopo Robusti, il Tintoretto. In the recent exhibition in Rome, Vittorio Sgarbi labelled Tintoretto a regista: a director, both theatrical and cinematographic see V. The Siege of Asola is a painting by the Italian late Renaissance master Tintoretto executed in 1544-1545.
From the x-ray and infrared reflectogram, it would seem that the canvas initially showed a series of large architectural structures lined up over most of the surface, notably on the right side. He was one of the best known Venetian painters next to Titian 1485 - 1576 , having very briefly trained under the master. There are also many secondary characters. The presence of elephants and what appear to be dromedaries in the background, suggests an Oriental or African setting, also clearly indicated by the fugitive, in the extreme left foreground, who wears a turban. Jacopo Robusti, called Tintoretto, was born in Venice in 1815 and died there in 1594. We are especially grateful to Bernard Aikema and Mauro Lucco for their help in cataloguing the present painting. Because Tintoretto displayed such an acuity for painting, his father quickly set him to studying with the master at the time, Titan.
Little is known of his training, but it is likely he studied the works of both and as a youth. Assedio di Asola it ; The Siege of Asola en ; Le Siège d'Asola fr ; The Siege of Asola nl dipinto di Jacopo Tintoretto it ; peinture de Le Tintoret fr ; pintura de Tintoretto oc ; schilderij van Tintoretto nl ; quadre de Tintoretto ca ; painting by Tintoretto en ; pintura de Tintoretto ast ; cuadro de Tintoretto es ; pintura de Tintoretto gl. Further research might yield additional elements to corroborate these conclusions, which are hypothetical. He was also extremely effective at publicising his talent, prepared to undertake daring, not to mention willingly provocative, feats of artistic endeavour so as to assert his position in the city. End your research paper worries in less than 5 Minutes! However, there appears to be no record in written or printed sources of such a commission. There is a problem, however, because the painting described in the inventory measured circa 2. The reason for this spectacular iconographic extension is not entirely clear but it is possible that the present picture was part of a larger cycle of paintings, possibly depicting Old Testament scenes or, more specifically, scenes from the life of David.
When Suida published the work as a composition by Jacopo in 1939, in the process refuting the suggestion by Thode 1901 and 1904 that it was by Domenico, he proposed it be dated after the Conversion of Saint Paul in Washington; Pallucchini and Rossi 1982 , for their part, believed both of these works belonged to the same period, at a time when the infuence of Andrea Schiavone was most evident. The canvas portrays two scenes. Many figures present a net of enveloping white lines that are not only those of the final layer where the pigment is mixed with lead white, but they can be interpreted as an underdrawing made directly to study and develop the human forms and shapes, the complexity can vary from figure to figure. Poznan, Muzeum Narodowe, on loan, 2002-2014. Asola, nestled on the Chiese river between Cremona and Mantua, was a strategically important town, and became the focus of a struggle between the Venetian Republic and the Duchy of Milan, who were allied with the King of Naples and Federico Gonzaga. Thus we must consider that the present magnificent invention by Tintoretto was planned and executed in the Tintoretto workshop in the late 1570s or the early 1580s, in close connection with the Gonzaga commission. These greens have now altered in tone, as occurs for other paintings by Tinoretto.
The work was presented at auction in 1847 and again in 1853 but its present where-abouts are unknown. Tintoretto was an Italian painter of the Mannerist style known for his use of deep perspective in dramatic scenes. Jacopo Robusti - Tintoretto Research Papers Jacopo Robusti's work was perhaps the most beautiful mastered and widely acknowledged of the 16th century. An impressively wide species of trees and herbs are included in the vegetation, which appear to have been added at the end of the painting process and largely contribute to the movement of the general composition. So the question arises: was the David and Goliath a Gonzaga commission? In the upper part of the composition the drawn lines appear to refer to the sketch for the architecture and in the upper left, some curved strokes suggest arches, possibly to create a portico, perhaps made of vegetation. The X-ray reveals, moreover, the presence of one or more large figures in the large and middle ground, which have been eliminated in the final stage of the work.