Tintoretto : Jacopo Robusti (1518-94), one of the greatest Mannerist painters of the Venetian school & of the Renaissance; famed for executing with aid of assistants the great “Paradise” a 30x74 ft. oil canvas which includes over 500 figures.
... very different thing from the splendid and abundant vitality and the power and force of character which we find in an Italian painting, a fresco from Michael Angelo's hand or a portrait by Titian or Tintoretto. The first primitive object of the art of painting is to illustrate life and Nature and at the lowest this becomes a more or less vigorous and original or conventionally faithful reproduction, but ...
... own order. But in viewing much of other European work of the very greatest repute, I am myself aware of a failure of spiritual sympathy. I look for instance on some of the most famed pieces of Tintoretto,—not the portraits, for those give the soul, if only the active or character soul in the man, but say, the Adam and Eve, the St. George slaying the dragon, the Christ appearing to Venetian Senators ...
... Angelo in his fury of inspirations seems to have been impelled by Mahakali, while Mahalakshmi sheds her genial favour upon Raphael and Titian; and the meticulous care and the detailed surety in a Tintoretto makes us think of Mahasaraswati's grace. Mahasaraswati too seems to have especially favoured Leonardo da Vinci, although a brooding presence of Maheshwari also seems to be intermixed there. For ...
... we’ll perhaps have beautiful things to look at.’ 21 She said that in 1951. A few years later she noted: ‘At one time, when I looked at the paintings of Rembrandt, the paintings of Titian or Tintoretto, the paintings of Renoir, the paintings of Monet, I felt a great aesthetic joy. This aesthetic joy I don’t feel anymore … That subtle something that is the true aesthetic joy is gone, I don’t feel ...
... is trying to manifest, which, for the moment, does not manifest, but is strong enough to destroy the past. That is, there was a time when I used to look at the pictures of Rembrandt, of Titian, of Tintoretto, the pictures of Renoir and Monet, I felt a great aesthetic joy. This aesthetic joy I don't feel any more. I have progressed because I follow the whole movement of terrestrial evolution; therefore ...
... export only mediocre things, saying these are good enough for barbarians. Only people who return from Japan bring genuine articles. PURANI: Binyon also says about European religious paintings by Tintoretto and others that there is too much action in them. In a picture of heaven, for instance, one feels quite outside heaven! SRI AUROBINDO: That is just what I recently said. Mrs. Raymond, hearing ...
... they have kept, if not the form, at least, the feeling of actuality in their composition. Thus a Chinese, a Japanese, or a Persian masterpiece cannot be said to be "natural" in the sense in which a Tintoretto, or even a Raphael is natural; yet a sense of naturalness persists, though the appearance is not naturalistic. What Indian art gives is not the feeling of actuality or this sense of naturalness, ...
... Mother, 1O8n. -Essays on the Gita, 22n. -Savitri: A Legend & a Symbol, 129n., 163n., 165-6n., 225 Sridhara,21 Sutras, the, 68 TAGORE, 209 Tamas, the, 37,152 Tilak, 2 I Tintoretto, 210 Titan,45-6,66,80,209,226,253,349 Titian, 210 UDDHAVA, 99, 101 Ulysses, 293 Page 433 Upanishads, the, 10, 13, 29, 57, 63, 68, 71, 74, 78n., ...
... Angelo in his fury of inspiration seems to have been impelled by Mahakali, while Mahalakshmi sheds her genial favour upon Raphael and Titian; and the meticulous care and the detailed surety in a Tintoretto makes us think of Mahasaraswati's grace. Mahasaraswati too seems to have especially favoured Leonardo da Vinci, although a brooding presence of Maheshwari also seems to be intermixed there. ...
... 814 and rebuilt several times at later periods. Finally, A. da Ponta restored it in the XVI th century, after it was burnt down. The palace is rich in paintings of sixteenth century artists: II Tintoretto, Paolo Veronese, Jacopo Palma (the Younger). Page 143 This is what happened to Mirra: "I was with my mother and a group of tourists, and we were being shown round the Palazzo ducale ...
... complete distaste for all the other types of painting! Yes, they’ve managed to dispel all my taste for classical painting. There was a time when I looked at the paintings of Rembrandt, Titian or Tintoretto, Renoir or Monet, and I felt a great aesthetic joy. I no longer feel this aesthetic joy; they all seem empty of aesthetic joy. Naturally, I feel none of it when I look at the things they do today ...
... Aurobindo feels he has not been able to steep himself in the spirit of the European renaissance art, as in the hellenic; and this is the reason why he is more at home in a Greek Aphrodite than in Tintoretto's paintings like Adam and Eve or St. George slaying the Dragon: Page 501 ...I am aware of standing baffled and stopped by an irresponsive blankness somewhere in my being.... When ...
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