Reconstructing the expressive "hazard" and the visionary innovative matrix of Jacopo Rubusti aka Tintoretto (Venice 1518-1594) in creative processes. This is the goal of our essay which reconstructs the centrality of Tintoretto's imagination in some chapters of the twentieth century. In particular, we find Tintoretto's work in the realist / symbolist writing of Henry James, in the philosophical-literary analysis of Jean-Paul Sartre, in the painting of Emilio Vedova, in the gaze of Peter Greenaway, in the acting of David Bowie. But what is the attraction of Tintoretto? Probably: the fury of style, the dimension of tonal painting, the idea of a new luminosity, the energetic tension, the attention to new trends (rejected or denied by his teacher Tiziano), the sense of the dramatic, the scenic construction , teamwork, the great variety of genres (the altarpiece, the profane fable, allegorical painting), the overcoming of mannerism and the announcement of the Baroque. And it is precisely this imaginative stratification that first provoked our curiosity and then the desire for a more in-depth methodical study that prompted us to perceive comparisons, continuity and research directions to be deepened (in a very dense and interdisciplinary mosaic) between different authors but united by the "subversive vision" of Tintoretto. With this essay we want to reconstruct the anxiety of innovation put in place by Tintoretto (who in the beginning "disturbed" Roberto Longhi) and analyze it both as an extraordinary imaginary to be reconstructed and as a masterly "device" to recompose a chapter of the imagination of our contemporaneity (up to the docu-film Tintoretto. A rebel in Venice directed in 2019 by the writer Melania Mazzucco who shows us the subversion and modernity of the "kidnapped of Venice").
Immaginario Tintoretto o della visione eversiva = Imaginary Tintoretto or subversive vision
alfonso amendola
;antonella trotta
2021-01-01
Abstract
Reconstructing the expressive "hazard" and the visionary innovative matrix of Jacopo Rubusti aka Tintoretto (Venice 1518-1594) in creative processes. This is the goal of our essay which reconstructs the centrality of Tintoretto's imagination in some chapters of the twentieth century. In particular, we find Tintoretto's work in the realist / symbolist writing of Henry James, in the philosophical-literary analysis of Jean-Paul Sartre, in the painting of Emilio Vedova, in the gaze of Peter Greenaway, in the acting of David Bowie. But what is the attraction of Tintoretto? Probably: the fury of style, the dimension of tonal painting, the idea of a new luminosity, the energetic tension, the attention to new trends (rejected or denied by his teacher Tiziano), the sense of the dramatic, the scenic construction , teamwork, the great variety of genres (the altarpiece, the profane fable, allegorical painting), the overcoming of mannerism and the announcement of the Baroque. And it is precisely this imaginative stratification that first provoked our curiosity and then the desire for a more in-depth methodical study that prompted us to perceive comparisons, continuity and research directions to be deepened (in a very dense and interdisciplinary mosaic) between different authors but united by the "subversive vision" of Tintoretto. With this essay we want to reconstruct the anxiety of innovation put in place by Tintoretto (who in the beginning "disturbed" Roberto Longhi) and analyze it both as an extraordinary imaginary to be reconstructed and as a masterly "device" to recompose a chapter of the imagination of our contemporaneity (up to the docu-film Tintoretto. A rebel in Venice directed in 2019 by the writer Melania Mazzucco who shows us the subversion and modernity of the "kidnapped of Venice").I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
