Wednesdays with Tintoretto

    To tie in with the exhibition at the Scuderie del Quirinale
    the Palazzo delle Esposizioni presents

    Wednesdays with Tintoretto

    To tie in with the Tintoretto exhibition, the exhibition's curators, famous art historians and authoritative experts explore this Venetian master's world:  his art, his career and his unique sensitivity.

    Wednesday 7 March 6.30 pm
    Giovanni Carlo Federico  Villa
    From Draughtsmanship to Painting:  Tintoretto Revealed
    "Michelangelo's draughtsmanship and Titian's sense of colour" is the description Carlo Ridofi coined to describe Tintoretto's painting, which merged the best of the two great masters in an art that springs from works of exceptional beauty.  Villa explores the Venetian painter's masterpieces through words and images.

    Wednesday 14 March 6.30 pm
    Giovanni Carlo Federico Villa
    Reflections on the Exhibitions

    "Terribilitas" is Tintoretto's distinctive feature.  In the literary language of the 16th century the term was a synonym for astonishment and marvel, for things that elicit admiration but also consternation and giddiness.  These are the feelings that we experience in the Scuola Grande di San Rocco, before the "Paradise" in the Doge's Palace, or in the presence of the "Miracle of the Slave" in the Accademia in Venice, where we feel as though the saint's acrobatic flight is seizing us against our will and casting us without further ado into a tumultuous and chaotic tunnel of perspective.

    Wednesday 21 March 6.30 pm
    Vittorio Sgarbi
    Tintoretto and Venetian Mannerism:  An Interpretation of the Exhibition
    Titian, Vasari, Sustris, Demio, Bonifacio Veronese, Bassano, El Greco, Schiavone and Paolo Veronese were the painters who worked alongside Tintoretto in Venice.  In 16th century Venice Tintoretto's vision with its multitude of different viewpoints, its contrasting light and shade and its oblique perspective was the synthesis of a Mannerist sensitivity that he interpreted without the slightest feeling of inferiority in relation to the primacy of Michelangelo.  A comparison of the artists' work highlights both Tintoretto's originality and his almost "cinematographic" creative force, in Sgarbi's modern and unconventional interpretation.

    Wednesday 28 March 6.30 pm
    Fernando Rigon
    Tintoretto's Olympus
    Unlike Titian and Veronese, Tintoretto rarely addressed the theme of the classical Olympian gods.  But when he did do so, he never turned his back on his own very strong sense of ethics, which almost invariably ended up triumphing over the aesthetic and allegorical components in such works.  Tintoretto always aimed to elicit his audience's sense of responsibility, involving them in the mechanics of the event - however mythical that event may have been - by (at times even mercilessly) exposing its workings and the role its "immortal" protagonists.

    Wednesday 4 April 6.30 pm
    Giovanni Morello
    Tintoretto's Bible
    A "devout" yet by no means conformist painter, Tintoretto was one of the greatest painters of bibilical subjects in the Venice of his day.  Though interested in New Testament themes, as evinced by the complex cycle in the Scuola di San Rocco, he certainly did not disdain addressing themes and episodes from the Old Testament.  Deeply involved in the cultural debate triggered by the precepts of the Council of Trent and by Cardinal Paleotti's subsequent publications, Tintoretto clung to orthdoxy, yet at the same time he never failed to introduce fully-fledged "coups de théâtre" into his work, thus managing to steer clear of a conventional  approach to the depiction of biblical events.

    Palazzo delle Esposizioni – Sala Cinema
    Admission via steps in Via Milano 9 A, Rome
    Reservations may be made by PdE and SdQ membership cardholders only