From Library Journal
Tintoretto refused to emulate the venerated Titian, and his paintings were at first derided by his contemporaries. Vasari, ordinarily a defender of mannerism, accused him of being ``capricious,'' and some thought Tintoretto was possessed by demons. Eventually, however, the unrestrained theatricality was accepted; his expressive rendering of biblical subjects dramatized perfectly the message of the Counter Reformation. The authors, eminent Venetian scholars, consider Tintoretto the most innovative of the Venetian mannerist painters. This thorough, readable study is a good addition to the literature on Tintoretto, little of which is in English. The plates are first-rate, but as in other volumes in this series, hand-tipped and easily removable. Eleanor Riley, Getty Conservation Inst. Lib., Marina del Rey, Cal.
Copyright 1985 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 1985 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Language Notes
Text: English, Italian (translation)
--This text refers to an out of print or unavailable edition of this title.
