Pietro Paolini – artist

Follower of Caravaggio passed on his techniques to the next generation

Paolini's Achilles among the Daughters of  Lycomedes,
 which is in the J. Paul Getty Museum in Los Angeles

Pietro Paolini, a painter in the Baroque period in Italy, was born on this day in 1603 in Lucca in Tuscany.

Sometimes referred to as Il Lucchese, Paolini was a follower of the controversial Italian artist Caravaggio.

He also founded an academy in his native city and taught the next generation of painters in Lucca.

Paolini’s father, Tommaso, sent him to Rome when he was 16 to train in the workshop of Angelo Caroselli, who was a follower of Caravaggio.

Paolini had the opportunity to study various schools and techniques, which is reflected in the flexible style of his work.

Paolini's Bacchic Concert, which is in the collection of
the Dallas Museum of Art

He was exposed to the second generation of painters in the Caravaggio tradition such as Bartolomeo Manfredi, Cecco del Caravaggio and Bartolomeo Cavarozzi.

The principal themes of Paolini’s work were the subjects popularised by Caravaggio around the turn of the 17th century involving lower class people such as hawkers, prostitutes and musicians. Some of his paintings have allegorical meanings, such as The Allegory of the Five Senses, which depicts a darkened inn with people engaged in playing music and drinking, each representing one of the five senses. The picture shows the realism and the strong chiaroscuro typical of Caravaggio.

Paolini spent two years living and working in Venice where he had the opportunity to study the works of Paolo Veronese and Tintoretto and he then returned to Lucca where he spent the rest of his life. His parents had died and he needed to support his siblings.

Paolini's The Allegory of the Five Senses, which is
on display at the Walters Art Museum in Baltimore

After establishing a successful studio in Lucca he specialised in cabinet pictures and introduced the still life genre to the city. He received many commissions from religious institutions in Lucca as well as prominent local citizens.

In about 1652 he founded the Academy of Painting and Drawing of Lucca, where he helped train many young painters. Artists such as Girolamo Scaglia, Simone del Tintore, Antonio Franchi, Giovanni Coli and Filippo Gherardi were all trained there. At this stage he almost entirely gave up painting himself in order to devote himself to teaching.

Paolini died in Lucca in 1681.  He had two sons, Andrea, who became custodian of the Public Archives in Lucca, and Giovanni Tommaso.

Many of Paolini’s most famous works are on display in galleries around the world, including The Mystic Marriage of St Catherine of Alexandria, which can be seen in the Galleria Nazionale d'Arte Antica in Rome, Achilles among the Daughters of Lycomedes (J. Paul Getty Museum) and Bacchic Concert (Dallas Museum of Art).  The Allegory of the Five Senses is in the Walters Art Museum in Baltimore, Maryland.

Others, such as The Card Sharps, Portrait of a Man and A Young Lady Holding a Compass are in private collections.

A view over the rooftops of Paolini's home city of
Lucca in western Tuscany, not far from Pisa

Travel tip:

Lucca, Paolini’s home city, is situated 30km (19 miles) inland from Viareggio on the coast and 20km (12 miles) from Pisa, with its international airport, yet is often overlooked by travellers to the area. It has much to recommend within its majestic walls, where visitors can stroll along narrow cobbled streets into a number of beautiful squares, with lots of cafes and restaurants for those content to soak up the ambiance, but also a wealth of churches, museums and galleries for those seeking a fix of history and culture.   The Renaissance walls, still intact, are an attraction in their own right, providing a complete 4.2km (2.6 miles) circuit of the city popular with walkers and cyclists.

The facade of the Palazzo Barberini in Rome,
designed by the architect Carlo Maderno

Travel tip:

The Galleria Nazionale d'Arte Antica (National Gallery of Ancient Art) is an art gallery in Rome. It has two sites: the Palazzo Barberini and the Palazzo Corsini.  The Palazzo Barberini was designed for Pope Urban VIII, a member of the Barberini family, by 16th century Italian architect Carlo Maderno on the old location of Villa Sforza, facing the Piazza Barberini in central Rome. Its central salon ceiling was decorated by Pietro da Cortona with the visual panegyric of the Allegory of Divine Providence and Barberini Power to glorify the papal Barberini family.  The Palazzo Corsini, formerly known as Palazzo Riario, is a 15th-century palace in the Trastevere district that was rebuilt in the 18th century by architect Ferdinando Fuga for Cardinal Neri Maria Corsini.

More reading:

Caravaggio sentenced to death after a murder in Rome

How did Caravaggio die?

Luca Giordano, the artist known as The Thunderbolt

Also on this day:

1678: The birth of architect Domenico Antonio Vaccaro

1751: The birth of the Blessed Vincent Romano

1977: The death of film maker Robert Rossellini


Home

John Singer Sargent - painter

Celebrated portraitist had lifelong love for Italy

John Singer Sargent, photographed in
1903 by James E Purdy

The painter John Singer Sargent, who was hailed as the leading portraitist of his era but was also a brilliant painter of landscapes, was born on this day in 1856 in Florence.

Although he became an American citizen at the first opportunity, both his parents being American, he spent his early years in Italy and would regularly return to the country throughout his life.

At his commercial peak during the Edwardian age, his studio in London attracted wealthy clients not only from England but from the rest of Europe and even from the other side of the Atlantic, asking him to grant them immortality on canvas.

His full length portraits, which epitomised the elegance and opulence of high society at the end of the 19th century, would cost the subject up to $5,000 - the equivalent of around $140,000 (€122,000; £109,000) today.

Sargent was born in Italy on account of a cholera pandemic, the second to hit Europe that century, which caused a high number of fatalities in London in particular. His parents, who were regular visitors to Italy, were in Florence and decided it would be prudent to stay.

A Sargent portrait of a celebrated
American actress and her daughter

There was always a strong chance that he would be born in Italy. Although his parents had a home in Paris, they were almost constantly travelling to one part of Europe or another in search of culture, and Italy, with its wealth of classical attractions, was a favourite destination.

Sargent’s sister, Mary, was also born in Florence and in time the family decided to stay there, his father relinquishing his position as an eye surgeon in Philadelphia.

The young Sargent did not have a formal education but learned much from his parents, quickly developing an appreciation of art, particularly in Venice, where he studied at first hand the works of Tintoretto, whom he rated an inferior only to Titian and Michelangelo.

By the age of 12, Sargent was already making his own sketches of the scenic wonders of Italy. He received his first organised art instruction from the German landscape painter, Carl Welsch, in Florence but left in 1874 to study in Paris. He was 22 before he made his first visit to the United States, and although he took the opportunity to claim his American citizenship, he immediately returned to Italy.

He spent time in Naples and Capri in 1878 before taking a studio in Venice, from which he painted many views, often of the lesser-known parts of the city and of Venetian people going about their normal daily lives. Where many painters focused on the places that attracted tourists, and did very well as a result, Sargent was more interested in the real Venice.

Sargent's impressionist-style watercolour of the Scuola di San
Rocco in Venice, noted for its collection of Tintoretto paintings

Among his Venetian scenes, his Scuola di San Rocco (c. 1903) marks Sargent as one of the finest watercolour painters of all time.

He found his own best commercial opportunities lay in Paris, and subsequently London, however, and portrait-painting became the driving force of his career.

His gift was in his ability to make each portrait somehow unique, despite the repetitive nature of the work. He managed to find something different about every sitter, could use props and background to suggest their class or occupation, and specialised in capturing his subjects in off-guard moments, rather than formal poses, to evoke a sense of their nature.

But portraits were not really what he wanted to do and, in 1910, having grown wealthy, Sargent gave up portraiture and devoted the rest of his life to painting murals and Alpine and Italian landscapes in watercolour.

Sargent's watercolour of the church of Santa Maria della Salute

Travel tip:

The great Baroque church of Santa Maria della Salute was one of Sargent’s favourite churches in Venice. Standing at the entrance to the Grand Canal and supported by more than a million timber piles, it was built to celebrate the city’s deliverance from the plague that claimed the lives of 46,000 Venetians in 1630. It is one of the most imposing architectural landmarks in Venice and has inspired painters such as Canaletto, Turner and Guardi. The interior consists of a large octagonal space below a cupola with eight side chapels. There are paintings by Titian and Tintoretto and a group of statues depicting the Virgin and Child expelling the plague by the Flemish sculptor, Josse de Corte.

Sargent's impression of a gondola passing beneath the Rialto

Travel tip:

The Rialto Bridge, of which Sargent sought different aspects, is the oldest of the four bridges spanning the Grand Canal in Venice, connecting the sestieri of San Marco and San Polo. Originally built as a pontoon bridge in 1181, and called Ponte della Moneta after the city’s mint, which stood near its eastern entrance, it was rebuilt several times, first in 1255, when it was replaced with a wooden bridge to cope with extra traffic generated by the development of the Rialto market. It had two inclined ramps meeting at a movable central section, that could be raised to allow the passage of tall ships. The rows of shops along the sides of the bridge were added in the first half of the 15th century. It was replaced by a stone bridge after once burning down and twice collapsing under the weight of people.

More reading:

Tintoretto, the dyer's son whose work adorns Venice

Titian, the giant of Renaissance art

The Festival of Madonna della Salute, when Venetians celebrate their deliverance from the plague

Also on this day:

1562: The birth of Charles Emmanuel I, Duke of Savoy

1751: The birth of Ferdinand I of the Two Sicilies

1848: Sicily rebels against the Bourbons


Home

Jacopo Sansovino – architect

Death of the designer praised by Palladio

A portrait of Sansovino by Tintoretto, currently
 housed in the Uffizi Gallery in Florence

Jacopo d’Antonio Sansovino, the sculptor and architect renowned for his works around Piazza San Marco, died on this day in 1570 in Venice.

He designed the Libreria Sansoviniana in the Piazzetta, which was later praised by the architect Andrea Palladio as ‘the finest building erected since antiquity’.

Sansovino had been born Jacopo Tatti in 1486 in Florence and was apprenticed to the sculptor Andrea Sansovino, whose surname he subsequently adopted.

He was commissioned to make a marble sculpture of St James for the Duomo and a Bacchus, which is now in the Bargello in Florence.

However, his designs for sculptures to adorn the façade of the Church of San Lorenzo were rejected by Michelangelo, who was in charge of the scheme.

In 1529 Sansovino became chief architect to the Procurators of San Marco, making him one of the most influential artists in Venice.

The Palazzo Corner della Ca'Grande was the first
building in Venice designed by Sansovino

His first Venetian building was the Palazzo Corner della Ca’ Grande, a huge classical palace for one of the richest families in Venice.

Sansovino designed the Loggetta and its sculptures adjoining the Campanile and statues for the Basilica of San Marco. He also helped rebuild many of the churches and palaces in Venice.

His masterpiece is considered to be the library building in the Piazzetta, which houses the national library of San Marco, the Biblioteca Marciana.

Construction began in 1537 opposite the Doge’s palace and it became one of the most richly decorated Renaissance structures in Venice, surmounted by statues of mythological gods.

During the construction, the roof vaulting collapsed and at the time Sansovino was blamed and imprisoned. He was freed only after appeals from eminent people in Venice, including the artist Titian.

After Sansovino’s death in Venice in 1570 he was buried in St Mark’s Basilica.

The Libreria Sansoviniana, which houses the Biblioteca
Nazionale Marciana, is considered Sansovino's masterpiece

Travel tip:

The National Library of St Mark’s, the Biblioteca Nazionale Marciana, is housed in the Renaissance building designed by Sansovino opposite the Doge’s Palace in the Piazzetta. It is one of the earliest surviving public manuscript depositories in the country holding one of the greatest collections of classical texts in the world. The library is named after Saint Mark, the patron saint of Venice. One of the first librarians was poet and scholar Pietro Bembo, who had earlier written beautiful love letters to Lucrezia Borgia while they were having an affair.

Travel tip:

Sansovino was buried in the beautifully decorated Baptistery of Saint Mark’s near the altar. The Baptistery was built on to the southern end of the church in the first half of the 14th century. In the centre of the room stands a baptismal font in marble and bronze, which was designed by Sansovino.

More reading:

The worldwide influence of the Renaissance giant Titian

Andrea Palladio - the world's favourite architect

The day the Campanile of St Mark's collapsed

Also on this day:

1964: The birth of footballer and manager Roberto Mancini

(Picture credits: Palazzo Corner della Ca'Grande and Libreria Sansoviniana both by Wolfgang Moroder via Wikimedia Commons)


Home

Festival of Madonna della Salute

Venetians celebrate their deliverance from the plague

The church of Santa Maria della Salute
stands at the entrance to the Grand Canal

Venice has held a festival on this day every year since 1681 to give thanks to Santa Maria della Salute for delivering the city from the plague.

A terrible epidemic hit Venice in 1630 during the war against Austria and in just 15 months 46,000 people died from the disease.

The epidemic was so bad that all the gondolas were painted black as a sign of mourning and they have remained like that ever since.

The Doge had called for people to pray to the Madonna to release the city from the grip of the plague and had vowed to dedicate a church to her if their prayers were answered.

When the plague ceased, in order to thank the Virgin Mary, the Senate commissioned Baldassare Longhena to design Santa Maria della Salute, a splendid baroque church on Punta della Dogana, a narrow finger of land between the Grand Canal and the Giudecca Canal.

Venice's gondolas were painted black to mourn the victims
of the plague and have remained black ever since

Construction of the magnificent church began in 1631 and took 50 years to complete.

On the occasion of the inauguration in 1681, a bridge of galleys and ships was formed across the Grand Canal to allow a mass procession of the faithful to the Church.

It was decided that the Senate would visit the church each year on November 21, the date of the feast of the presentation of the Virgin in the Catholic calendar.

For the Festa of Madonna della Salute, the city’s officials parade from San Marco to Santa Maria della Salute for a service over a temporary pontoon bridge formed across the Grand Canal. The solemn procession crosses it to reach the Church, where in the presence of the icon of the Virgin, thousands of votive candles are lit.

The pontoon bridge across the Grand Canal constructed
each year to mark the Festival of Madonna della Salute

The candles are sold to the local people by stalls surrounding the Campo della Salute, along with balloons, cakes, sweets and hot food to contribute to the festive fun.

Several thousand Venetians will make the pilgrimage across the temporary bridge today to light a candle to thank the Virgin Mary and pray to her for continued good health.

On the day of the festa it is also traditional for Venetians to eat a special soup known as Castradina, which is made from cabbage, dried spiced mutton and rosemary.

Travel tip:

The great baroque church of Santa Maria della Salute standing at the entrance to the Grand Canal is supported by more than a million timber piles. It is one of the most imposing architectural landmarks in Venice and has inspired painters such as Canaletto, Turner and Guardi. The interior consists of a large octagonal space below a cupola with eight side chapels. There are paintings by Titian and Tintoretto and a group of statues depicting the Virgin and Child expelling the plague by the Flemish sculptor, Josse de Corte.

The Grand Canal, looking towards Santa Maria della Salute

Travel tip:

The Grand Canal - Canal Grande - sweeps through the heart of Venice, following the course of an ancient river bed. Since the founding days of the Venetian empire it has served as the city’s main thoroughfare. It was once used by great galleys and trading vessels but nowadays is teeming with vaporetti, water taxis, private boats and gondolas. The palaces bordering the winding waterway bear the names of the old Venetian aristocratic families and represent the finest architecture designed for the republic over its many centuries of history. The ambassador to Charles VIII of France visited Venice in 1495 and called the Grand Canal ‘the most beautiful street in the world.’

More reading:

How the genius of Tintoretto still adorns Venice

Titian - Venice's giant of Renaissance art

Why the Festival of San Gennaro is celebrated around the world

Also on this day:

1854: Birth of the Pope who tried to stop the First World War

(Picture credits: Santa Maria della Salute main picture by Higinoa; pontoon bridge by Unofeld781 via Wikimedia Commons)



Home

Palma Giovane - painter

Mannerist took the mantle of Tintoretto 

Jacopo Negretti, the Venetian artist better
known as Palma Giovane

The Venetian artist Jacopo Negretti, best known as Jacopo Palma il Giovane - Palma the Younger - or simply Palma Giovane, died in Venice on this day in 1628.

Essentially a painter of the Italian Mannerist school, Palma Giovane's style evolved over time and after the death of Tintoretto in 1594 he became the most revered artist in Venice.

He became in demand beyond Venice, too, particularly in Bergamo, the city in Lombardy that was a dominion of Venice, and in central Europe.  He received many commissions in Bergamo and was often employed in Prague by the Habsburg Emperor, Rudolph II, who was a noted art connoisseur.

Palma had been born into a family of painters. His great uncle, also called Jacopo, was the painter Palma Vecchio - Palma the Elder - while his father, Antonio Negretti, was a pupil of the elder Palma’s workshop manager, Bonifacio Veronese, whose shop and clientele he inherited after the latter’s death.

The younger Palma is said to have developed his skills making copies in the style of Titian, although the claim in some biographies that he worked in Titian's workshop in Venice is now thought to be incorrect. What is not disputed is that when Titian died, in 1576, Palma was entrusted with finishing his last work, the Pietà, in the Accademia in Venice.

In 1567, Guidobaldo II della Rovere, Duke of Urbino, had recognised Palma’s talents and sponsored him to further his education in Rome, where he remained until about 1572.

Palma Giovane's 1620 Lamentation of Christ,
at the National Gallery of Art in Washington

On his return to Venice, Palma received his first major public commission, to paint three scenes in the Sala del Maggior Consiglio of the Doge’s Palace following a fire there in 1577.

Mannerism, from the Italian word maniera, meaning style, is characterised by frequently complex figures with elongated features, often given exaggerated, unusual poses.  It is seen as a reaction to High Renaissance art, which emphasised proportion, balance and idealistic beauty.

By the mid-1580s Palma was incorporating Tintoretto’s versatile figure postures and echoes of Titian’s loose brushstrokes and emphasis on light.

Palma worked alongside Veronese and Tintoretto on the decorations in the Doge’s Palace, where he embraced the Venetian tradition. Some of his finest works were the cycles of large canvases he painted for schools or religious brotherhoods and for sacred buildings such as the sacristies of San Giacomo dall’Orio and the Gesuiti, the Scuola di San Giovanni Evangelista, and the Ospedaletto dei Crociferi.

His official commissions at the Doge's Palace included a magnificent portrait of Saint Pope Pius V, commissioned by the Bellanti Counts, an influential family in Tuscany.  The painting left Italy after being bought by Major-General Sir Robert Dick, the British soldier and collector, before being returned by Roberto Gagliardi, an Italian art dealer based in London, who purchased it at Bonham's for display at the Museum of Art he established at Chianciano, not far from Siena.

After his death at the age of 80, Palma was interred in the Basilica dei Santi Giovanni e Paolo, a traditional burial place of the doges.

The Basilica dei Santi Giovanni e Paolo in
Venice, where Palma Giovane is buried

Travel tip:

The huge Gothic Basilica dei Santi Giovanni e Paolo, where Palma Giovane is buried, is in the Castello district of Venice.  It is one of the largest churches in Venice and after the 15th century the funerals of all Doges took place there.  In all, it houses the tombs of 25 Doges.  There are many works by Veronese in the Chapel of the Rosary, as well as paintings elsewhere by Lorenzo Lotto and sculptures by Pietro Lombardo.  Outside is a statue of Bartolomeo Colleoni, the Bergamo condottiero (mercenary) and a former captain-general of the Republic of Venice, by Andrea del Verrocchio.

Travel tip:

Several of Palma Giovane's works commissioned in Bergamo are on display at the Accademia Carrara, a magnificent palace just outside Bergamo's Città Alta that was built in the 18th century to house one of the richest private collections in Italy. Visitors can view works by the masters of the Venetian, Lombard and Tuscan Renaissances as well as great artists who came later, such as Lotto, Titian, Moroni, Rubens, Tiepolo, Guardi and Canaletto.  The gallery, in Piazza Giacomo Carrara, is open Monday, Wednesday and Thursday (10am to 7pm); Friday (10am to 12 noon) and Saturday and Sunday (10am to 8pm).

More reading:

Titian - giant of Renaissance art

Tintoretto - dyer's won whose work still adorns Venice

How Guardi captured the final glory years of the Venetian Republic

Home

Giovanni Gabrieli – composer

Venetian musician inspired spread of the Baroque style

The tomb of Giovanni Gabrieli in the Church of
Santo Stefano in the San Marco district of Venice

Giovanni Gabrieli, composer and organist, died on this day in 1612 in Venice.

He had been a major influence behind the transition from Renaissance music to the Baroque style in Europe.

Born in Venice between 1554 and 1557, Giovanni grew up studying with his uncle, the composer Andrea Gabrieli, for whom he always had great respect.

He also went to Munich to study with the musicians at the court of Duke Albert V, which had a lasting influence on his composing style.

After his return to Venice he became principal organist at St Mark’s Basilica in 1585. Following the death of his uncle, he took the post of principal composer at St Mark’s as well and spent a lot of time editing his uncle’s music for publication, which would otherwise have been lost.

Listen to Gabrieli's Canzon XVI for 12 parts

He took the additional post of organist at the Scuola Grande di San Rocco, which was second only to St Mark’s in prestige at the time.

The English writer Thomas Coryat wrote about musical performances there in his travel memoirs.

The Scuola Grande di San Rocco (left) adjoins the
Church of San Rocco in Venice in the San Polo district

Composers from all over Europe came to Venice to study after the publication of Giovanni’s Sacred Symphonies (Sacrae Symphoniae) in 1597.

Using the acoustics of St Mark’s to full advantage, he wrote music for separated choirs, but specified which instruments were to be used and which choirs were to use soloists as well as full choir, in order to distinguish between the musical style of each. This was a new approach to orchestration.

Giovanni made his pupils study Madrigals as well as the Venetian style of music and they took back the early Baroque style to their own countries, which profoundly affected the course of music history.

In Germany, the music of Johann Sebastian Bach was founded on the early Baroque tradition, which had its roots in Venice.

Giovanni Gabrieli died as a result of complications with a kidney stone in 1612 and he is buried in the Church of Santo Stefano in Campo Santo Stefano in Venice.

Easy to see why the Basilica of St Mark is sometimes
known as the Chiesa d'Oro - the Church of Gold

Travel tip:

St Mark’s Basilica is the Cathedral Church of Venice and one of the best examples of Italo-Byzantine architecture in existence. Because of its opulent design and gold ground mosaics it became a symbol of Venetian wealth and power and has been nicknamed Chiesa d’Oro (Church of Gold). The spacious interior with its multiple choir lofts inspired the development of the Venetian polychoral style used by the Gabrielis, uncle and nephew, and Claudio Monteverdi.

Travel tip:

The Scuola Grande di San Rocco was established in 1478 by a group of wealthy Venetians next to the Church of San Rocco as a charitable institution to give money to the sick and needy and their families. Tintoretto decorated the walls and ceilings of the Scuola with a remarkable cycle of paintings in 1564. The Scuola is a few minutes walk from the San Tomà vaporetto stop on the Grand Canal.

(Photo of the tomb by Giovanni Dall'Orto)
(Photo of Scuola di San Rocco by MarkusMark  CC BY-SA)

Home

Tomaso Albinoni - Venetian composer

Prolific writer of operas and instrumental music

Tomaso Albinoni

The composer Tomaso Albinoni, perhaps best known for the haunting and powerful Adagio in G Minor, was born on this day in 1671 in Venice.

Albinoni was a contemporary of two other great Venetian composers, Arcangelo Corelli and Antonio Vivaldi, and was favourably compared with both.

It is his instrumental music for which he is popular today, although during his own lifetime he was famous for his operas, the first of which was performed in Venice in 1694.  He is thought to have composed some 81 operas in total, although they were not published at the time and the majority were lost.

His first major instrumental work also appeared in 1694. With the support of sponsorship from noble patrons, he published nine collections - in Italy, Amsterdam and London - beginning with Opus 1, the 12 Sonate a Tre, which he dedicated to his fellow Venetian, Cardinal Pietro Ottoboni, the grand-nephew of Pope Alexander VIII.

It was this work that established his fame.  He followed it with an other collection of instrumental pieces, dedicated to Charles IV, Duke of Mantua, who may have employed him as a violinist. His Opus 3, a collection of  suites, was sponsored by Cosimo III de' Medici, Grand Duke of Tuscany.

His career output numbered 99 sonatas, 59 concertos and nine symphonies.  By his seventh Opus he was writing regular pieces for the oboe and is regarded as the first composer to include the instrument in concertos. His ninth Opus was his last.

Albinoni came from a privileged background.  His family manufactured playing cards and owned several shops in Venice, allowing Tomaso to indulge his musical talents - he was a talented singer and violinist as well as a composer - as an amateur, known as a Dilettante Veneto.

A poster advertising the premiere
of an Albinoni opera in 1716

He would have expected, at some stage, to take over the running of the family business, but after the commercial success of his 12 Sonate a Tre, his father changed the terms of his will so that the business would be placed instead in the hands of his younger brothers.  This meant Tomaso could pursue a career in music.

In 1705, Albinoni married an opera singer, Margherita Raimondi. He always lived in Venice but travelled extensively as his works were performed around Italy and later in northern Europe.  He died in Venice in 1751, apparently of diabetes.

Ironically, given his prolific output, his best loved work - the Adagio in G Minor - was written largely by someone else.

A good deal of Albinoni's work was damaged or destroyed in the bombing of Dresden towards the end of the Second World War when it was being kept in the Dresden State Library.  The ruins were visited in 1945 by a musicologist from Rome, Remo Giazotto, who was catalogueing the composer's output.

When Giazotto later published the adagio, copyrighted in his own name, he claimed it had been based on what remained of manuscript discovered in the ruins, which consisted of just the bass line and six bars of melody from a church sonata that was possibly included in Albinoni's Opus Four, written in about 1704.

Giazotto said he had constructed the piece as a complete movement based on that fragment of manuscript, although the claim was never corroborated and no one else saw the scrap of paper.  The consensus among musical scholars is that it should be seen as Giazotto's work, yet the piece continues to be referred to as Albinoni's Adagio in G Minor.

The former Chiesa San Vidal in Venice

Travel tip:

Performances of Albinoni's music form part of the season performed annually by the Interpreti Veneziani, a chamber music ensemble who specialise in Venetian music.  They perform at a former church, the Chiesa San Vidal, situated between the Accademia Bridge and Campo Santo Stefano, and sometimes at the Scuola Grande di San Rocco, both in the San Marco district.  For more information, visit www.interpretiveneziani.com.

Travel tip:

The Scuola di San Rocco was established in 1478 by a group of wealthy Venetian citizens, next to the church of San Rocco. In 1564 the painter Tintoretto was commissioned to provide paintings for the Scuola, and his most renowned works are to be found in the Sala dell'Albergo and the Sala Superiore.

More reading:

Where to see Tintoretto's work in Venice

Success and sadness of Antonio Vivaldi

How Arcangelo Corelli's music influenced others

(Photo of Chiesa San Vidal by Didier Descouens CC BY-SA 4.0)

Home

Tintoretto – painter

Dyer’s son whose work still adorns Venice

Tintoretto: this 1548 self-portrait is housed
 in the Victoria and Albert Museum in London

Renaissance artist Tintoretto died on this day in 1594 in Venice.

Known for his boundless energy, the painter was also sometimes referred to as Il Furioso.

His paintings are populated by muscular figures, make bold use of perspective and feature the colours typical of the Venetian school.

Tintoretto was an expert at depicting crowd scenes and mythological subjects and during his successful career received important commissions to produce paintings for the Scuola Grande di San Marco and the Scuolo Grande di San Rocco.

Tintoretto was born Jacopo Comin, the son of a dyer (tintore), which earned him the nickname Tintoretto, meaning 'little dyer'.

He was also sometimes known as Jacopo Robusti as his father had defended the gates of Padua against imperial troops in a way that was described as ‘robust’ at the time.

As a child, Tintoretto daubed on his father’s walls so the dyer took him to the studio of Titian to see if he could be trained as an artist.

Things did not work out and Tintoretto was quickly sent home. Although Tintoretto later claimed to be an admirer of Titian, the famous artist remained distant towards him so Tintoretto studied on his own and practised his technique day and night.

One of Tintoretto’s early pictures, which is still in the Church of the Carmine in Venice, is the Presentation of Jesus in the Temple.

The Presentation of Jesus in the Temple, one of Tintoretto's
 early works, can be found in the Church of the Carmine

He then painted four subjects from Genesis and, two of these, Adam and Eve and The Death of Abel, are now in the Accademia Museum in Venice.

In 1546 he painted three of his major works, The Worship of the Golden Calf, The Presentation of the Virgin in the Temple and The Last Judgement, for the Church of Madonna dell’Orto in Canareggio.

Then in 1548 he was commissioned for four pictures about the life of St Mark for the Scuola Grande di San Marco. From 1565 onwards Tintoretto produced many paintings for the walls and ceilings of the Scuola Grande di San Rocco.

The last important picture painted by Tintoretto was a vast canvas entitled Paradise, which takes up an entire wall of the Great Council Chamber in the Doge’s Palace. A painted sketch of it is also in the Louvre in Paris.

In May 1594, after suffering severe stomach pains and fever, Tintoretto died aged 75 and was buried in the Church of Madonna dell’Orto.

The Church of the Madonna dell'Orto in
Venice, where Tintoretto is buried

Travel tip:

The Church of Madonna dell’Orto in Cannaregio, where Tintoretto is buried, is one of the finest Gothic churches in Venice. In his painting, The Adoration of the Golden Calf on the left wall, the figure carrying the calf is said to represent Tintoretto himself.

Travel tip:

Tintoretto lived with his family in a house near the Church of Madonna dell’Orto overlooking the Fondamento dei Mori from 1574 till his death in 1594. He was born, lived and died in Cannaregio and is believed to have left Venice only once in his life.

Home