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"Given his way, he would have painted every wall in the town ... he would roll paint on the ceiling above and make pretty pictures below for people to walk on, his brush leaving nothing alone, not the palace fronts on the Grand Canal, not the gondolas, not even (maybe) the gondoliers." - JeanPaul Sartre, 1964
Tintoretto's voracious ambition, alluded to above, was matched, according to anecdotes, by a competitiveness so strong that it tainted his reputation. One dubious but much repeated scandal recounts his trickery during the contest to paint a ceiling for the Scuola Grande di San Rocco in VENICE. The story is that competing artists with scale models of their entries arrived at the Scuola building to discover that, during the night, Tintoretto had managed to secretly install his own full-scale, finished painting overhead. At the bottom of such tales is the artist's prodigious speed of execution, explicit not only in his techniques but also in his style and in the energetic, agitated movement that vibrates across his canvases. The overall somber tone of his paintings was quickly achieved by priming the canvas with flat, dark colors, usually red or brown. He further increased his velocity by painting with a broad brush. Often he created the impression of deep space rising in the distance, as if to make the figures in the foreground hurtle out of the canvas into the viewer's space (e.g., Discovery of the Body of Saint Mark, 1562-66). The observer's interaction with Tintoretto's tumultuous paintings is inevitable; Crucifixion ( c. 156 6-67), on one of the walls in the Scuola Grande di San Rocco building, is a 40-foot-long panorama with a vast, agitated crowd surrounding the high Cross. Christ's bent head is at the top of the canvas, and the entire composition seems squeezed by an oppressive force. This sense of agitation and compression is consistent with the MANNERISM of the period, though little else of Tintoretto's style is. In PALLADIO's church of San Giorgio Maggiore in Venice, Tintoretto's Last Supper (1592-94), finished during the last year of his life, is at the summit of his oeuvre. The table races obliquely away from the PICTURE PLANE, appearing to vanish into the dark background. Christ is a relatively distant figure, but is at the center of the canvas, and is singled out by a brilliantly radiant halo. Far more interested in light than in color, Tintoretto illuminates the shadowy room with a flaming oil lamp that hangs from the ceiling and throws light onto vaporous, transparent angels that float in and out of obscurity. Tintoretto engages his audience intellectually as well as emotionally: Counting the apostles present at the table, we note that one is missing, and realize that Judas has left to act out his betrayal. Affirmation of the dogma of transubstantiation is also expressed by the presence of bread, wine, and liturgical vessels.
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