Marietta Robusti
Maria or Marietta Robusti , called La Tintoretta , (* probably around 1554/55 in Venice , † 1590 in Venice) was an Italian painter.
Life
Marietta Robusti was the eldest daughter of the painter Jacopo Robusti, called Tintoretto, from an illegitimate relationship with a German woman whose name is not yet known. Your exact date or year of birth is not known. She had at least eight younger half-siblings who came from Jacopo's marriage to Faustina Episcopi, including Domenico Tintoretto and Marco Tintoretto , who also became painters.
According to a " genealogia " of the Tintoretto family from the 17th century, her father is said to have immortalized her as a child together with her mother in one of his pictures in the church of Madonna dell'Orto . It is not known which picture is meant exactly. Checa Cremades suggested the painting Presentation of the Virgin Mary in the Temple (from around 1553), originally intended for the organ piano , but the Last Judgment (1560–1562) would also be conceivable.
Marietta is said to have been the pride of her father, who personally took care of her education. From him she learned to paint and draw. She must have shown herself to be very talented because her skills were praised at an early stage. An early, outstanding example of her talent was preserved in a drawing from around 1565 showing the head of a " Vitellius bust" on blue paper in black and white chalk . The sheet was in a private collection in Milan in the 1990s and is signed “This head was made by Fräulein Marietta” (“ Questa testa si è di man de madonna Marieta ”)
To teach her to paint, he let her watch his work and took her with him when he did public works. When she was little, he is said to have often disguised her as a boy because as a girl she would not have been allowed in everywhere. Marietta is said to have had a good grasp of things and learned quickly. Soon she should have actively helped her father, although her stroke should not have been distinguishable from that of the father. Already around 1567/68, at the age of about fourteen, she is said to have portrayed the well-known scholar and Venetian art dealer Jacopo Strada .
She soon enjoyed an excellent reputation as a painter. The Venetian poet Moderata Fonte named her in the same breath as her father Jacopo Tintoretto:
"I've heard that Signor Giacomo Tintoretto and his daughter are said to be extraordinarily gifted."
For the Venetian nobility it was considered chic to have themselves portrayed by La Tintoretta , as Marietta was affectionately called based on the stage name of her father.
Her talent was apparently so great that her fame soon spread far beyond the city limits. She was invited by the most important princes of Europe with the request to portray her, including Emperor Maximilian II , King Philip II of Spain and Archduke Ferdinand . But her father, who did not want to part with her and whose workshop was dependent on her labor, forbade her to leave his house. He later allowed her to get married. Marietta's husband was a goldsmith named Marco Augusta (according to other sources: Jacopo d'Augusta) who, according to Joachim von Sandrart and the 17th century " Genealogia " of the Tintorettos, is said to have been a German (probably from Augsburg = Italian Augusta ). He first had to assure Jacopo that the couple would live in his house. It is assumed that this was an arranged marriage, as the goldsmith's trade enjoyed a great reputation in Venice, from which Jacopo Tintoretto could now also benefit. However, the couple soon moved out and then lived in the Contrada di S. Stin (S. Stefano), in the district of San Polo . They had a daughter Orsola Benvenuta that on 9 April 1580 baptized was.
Marietta died suddenly around 1590 at the age of about 35. The causes of her death are unknown, but it is believed that she died giving birth to her child. Her death hit her father so badly that he was never to recover from it.
She was buried in the tomb of Marco Episcopi (Tintoretto's father-in-law) in Madonna dell'Orto , where her father and brother Domenico were also buried.
music
Parallel to her painting and drawing training, Jacopo Tintoretto had his daughter Marietta instructed in singing, lute and spinet by the Neapolitan (?) Musician and composer Giulio Zacchino , organist of the Venetian church of San Giorgio Maggiore . Contemporary witnesses compared her to other musical painters or poets, such as Gaspara Stampa , Lavinia Fontana or Irene di Spilimbergo , a student of Titian who died prematurely . Marietta is even said to have sung for entertainment for the people she painted during her portrait sessions in order to shorten their time.
Although it was a contemporary topos to portray women at the virginal or harpsichord and there are also corresponding self-portraits by other female painters, the self-portrait attributed to Tintoretta at the spinet in the Uffizi - if it actually comes from her - also points to the importance of music for the artist. Then she holds in her left hand a part book with the discant part (highest voice) of the 4-part madrigal Madonna, per voi ardo by Philippe Verdelot . Her right hand on the left edge of the picture hovers over the keyboard, as if she wanted to specify a note for herself to sing. The key image under her hand is strange: in fact, the two lowest black keys, just like the one an octave higher (c sharp and d flat), should be closer to each other. However, the key image does not correspond to any of the short octaves commonly used in the 16th century . The proportions of the only partially depicted virginal and its keyboard, which are cut off from the left edge of the picture, speak against such an assumption.
Fame
Marietta Robusta, commonly known as Tintoretta , is described by her Venetian contemporary, the poet Moderata Fonte (1555–1592) in her book The Merit of Women. Why women are more dignified and more perfect than men as "extraordinarily talented" painter called. As a musician and painter she is mentioned in the preface to Teutschlands Galante Poetinnen 1715 by the German novelist and poet Georg Christian Lehms (1684–1717). Further details are not available from this source, above all the explanation and the reason why she is included in the book as an Italian is missing.
Works
Today only a few works can be assigned to Marietta. Many of them were long regarded as the works of other masters, mostly as pictures of their father. For example, the “Portrait of a Man with a Boy” in the Kunsthistorisches Museum in Vienna, which was considered the undisputed work of Jacopo Tintoretto until 1920 and is now increasingly assigned to his daughter. A "portrait of a lady with a dog" was considered a work by El Greco . Roland Krischel (2000) attributed the portrait of Ottavio Strada (around 1567) to her, which is now in the Stedelijk Museum , Amsterdam.
Factory selection
- Florence, Galleria degli Uffizi
- Self-portrait at the spinet
- Madrid, Prado Museum
- Self-portrait
- Portrait of a Venetian Woman
- Portrait of a Venetian Woman
- Rome, Borghese Gallery
- Self-portrait
-
Wiesbaden Museum
- Portrait of a Lady as Flora (attributed)
Afterlife
Her short life, especially the story of her death, inspired many painters and poets to create their own works in the 19th century. In 1843 Léon Cogniet painted the painting “Tintoretto, painting his dead daughter” , from which Victor Fournel made a widespread wood engraving in 1884. In 1845 the play “Tintoretto and his daughter” , written by the painter Luigi Marta , was premiered in Milan. Around 1856/57 Edgar Degas was inspired by the painting Cogniets for his own study on the same topic. In 1859 the story “The Daughter of Tintorettos” by Giuseppe Sacchis was published in Venice . The author Melania G. Mazzucco published the novel Tintorettos Engel (Italian: La lunga attesa dell'angelo ) in 2008 , in which the relationship between the painter and his daughter is the focus. Mazzucco also wrote a carefully researched and award-winning biography of Jacomo Tintoretto & i suoi figli. Storia di una famiglia veneziana .
literature
- Marsel Grosso: ROBUSTI, Jacopo, detto Tintoretto , in: Dizionario Biografico degli Italiani - Volume 88 , 2017, online at Treccani (Italian; accessed on March 22, 2020)
- Marsel Grosso: ROBUSTI, Maria, detta Tintoretta , in: Dizionario Biografico degli Italiani - Volume 88 , 2017, online on Treccani (Italian; accessed on March 22, 2020)
- Roland Krischel: Tintoretto , Hamburg, 1994
- Marc-Joachim Wasmer: The artist's daughter Marietta Robusti, called Tintoretta, in: “Our head is round so that our thinking can change direction.” Festschrift for Franz Zelger , ed. v. Matthias Wohlgemut with the collaboration of Marc Fehlmann, Zurich 2001, pp. 463–494
Individual notes
- ↑ a b c d e f Marsel Grosso: ROBUSTI, Maria, detta Tintoretta , in: Dizionario Biografico degli Italiani - Volume 88 , 2017, online on Treccani (Italian; accessed on March 22, 2020)
- ↑ a b c d Marsel Grosso: ROBUSTI, Jacopo, detto Tintoretto , in: Dizionario Biografico degli Italiani - Volume 88 , 2017, online on Treccani (Italian; accessed March 22, 2020)
- ^ Daniela Hacke (translator and ed.): Moderata Fonte: The merit of women. Why women are more worthy and perfect than men. Beck, Munich 2002, ISBN 3-406-48098-5 , p. 246.
- ↑ about him: Austrian Music Lexicon
- ↑ See text on the self-portrait on the Uffizi website (Italian; accessed April 4, 2020)
- ↑ Examples are: the girl at the virginal by Catarina van Hemessen (1548, Wallraf-Richartz-Museum , Cologne) or the self-portraits at the spinet of Sofonisba Anguissola (1554, Museo di Capodimonte , Naples; and 1561, Althorp, Northamptonshire), as well as by Lavinia Fontana (1577, Accademia di San Luca , Rome). Ultimately Jacopo Tintoretto erotic use Muses or Ladies concerts the topos of music-making Lady at the Virginal (at least three versions of the Museo di Castelvecchio , Verona; in the Old Masters Picture Gallery , Dresden; and in Windsor Castle ).
- ↑ Giovanna Giusti: "Autoritratte tra ombre e luci" (2011; please scroll down) gives a reference to "Madonna per voi ardo" (first printed in 1533), and here are the notes. (Thanks to Nightflyer)
- ↑ The most widespread and popular until the 18th century began with the low C on the E key, the D on the F sharp key, the E on the G sharp key, F, G and A on the normal keys and from there on chromatic upwards. Edward Kottick: A History of the Harpsichord , Indiana University Press, 2003, p. 40 (short octave in general), 70-71 and 76-77 (range or short octave in Italian keel instruments, 16th century), also numerous illustrations , u. a. Pp. 80f, 91-93, 96, 98, 135, 139, 143, 148-150 and the like. a.
- ↑ Published in 1600, German edition translated by Daniela Hacke , Beck-Verlag Munich 2002, ISBN 3-406-48098-5 , p. 246.
- ^ Elisabeth Gössmann : Archive for women's research in the history of philosophy and theology , Volume 4, 1996, ISBN 3-89129-004-7 , p. 257 (Music), p. 258 (Malerey).
- ↑ Book Description on IBS (Italian; accessed April 1, 2020)
Web links
- Very good version of the self-portrait of Marietta Robusti on the website of the Uffizi Gallery , Florence (Italian; accessed April 4, 2020)
| personal data | |
|---|---|
| SURNAME | Robusti, Marietta |
| ALTERNATIVE NAMES | La Tintoretta |
| BRIEF DESCRIPTION | Italian painter |
| DATE OF BIRTH | around 1554 |
| PLACE OF BIRTH | Venice |
| DATE OF DEATH | 1590 |
| Place of death | Venice |