The Miracle of the Slave

Jacopo Tintoretto was commissioned by the Scuola Grande di San Marco in 1547 to create a painting for the Sala Capitolare [1]. The artist came from a family of cloth dyers in Venice. He practiced drawing and painting from a young age, landing a spot in Titian’s workshop where he expanded his artistic abilities. Tintoretto became one of the greatest artists of Venice at his time, painting for the Doge and Venetian government along with many churches [2]. The Scuola Grande di San Marco commissioned Tintoretto to create a series of paintings depicting the life of St. Mark and his achievements, which includes The Miracle of the Slave. After his father’s death, Domenico Tintoretto continued the legacy of the workshop and painted for the Scuola as well [3].

The Miracle of the Slave depicts St. Mark, the patron saint of Venice, rescuing a slave from torture for defying the rule of his master. The slaveowner, depicted on a throne above, punishes his slave for devoting to the worship of St. Mark. The saint is up above, with his golden halo, interfering in the torture as the crowd is in awe [1]. Tintoretto dramatizes the scene with bright and vivid colors, unique composition, and distinct facial expressions depicting emotions. He illuminates the painting with St. Mark’s halo, representing the heroic role he plays in the painting. The bright colors of the figures’ clothing draw the viewer’s attention, visualizing the drama and emotion that goes into the depicted religious scene. Tintoretto utilizes light to represent the dichotomy between good and evil in this painting as the slave and saint’s halo are bright compared to the darkness of the vile crowd. The facial expressions of the characters highlight the emotions and intensity of the painting, which can be seen in the stunned expressions of the public crowd in the foreground. Their body language emphasizes the distress and bewilderment that is going on as St. Mark comes from the dead to save the life of this devout slave. This can be seen with the figure in the center showing the master his broken tools, confused as to why his torture won't work

Tintoretto revolutionized the style of narrative painting, which can be seen through The Miracle of the Slave. His composition separates the heavenly figure of the saint from the lowly and unholy humans. St. Mark hangs upside down in the sky as Tintoretto wants to draw the viewer’s attention to him as the central figure. As Hans Tietze writes, Tintoretto's purpose in creating the painting was to show his adoration and love of Venice and Venetian tradition through representing the heroic actions of the city’s patron saint [4]. He was commissioned to narrate the story of the slave visually for those walking around the Sala Capitolare. He expanded on the idyllic portrayal of religious scenes through emphasizing the theatrical nature and passion in narrative painting. He uses the canvas as a way to express his creativity and complexity, reforming religious depictions in art [5].


[1] "The Miracle of the Slave, also known as The Miracle of Saint Mark," Gallerie Accademia di Venezia, accessed September 24 2020, http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark 

[2] Samuel Levy Bensusan, "Tintoretto," London; F.A. Stokes Co.: New York (1908): 9-10.

[3] “Scuola Grande Di San Marco,” Columbia University Art Atlas, accessed September 24 2020, https://mcid.mcah.columbia.edu/art-atlas/venice-and-its-lagoon/scuola-grande-di-san-marco.

[4] Hans Tietze, "The Tintoretto Exhibition at Venice" The Burlington Magazine for Connoisseurs 71, no. 414 (1937): 134.

[5] A.C.J. , "Portrait of Alessandro Farnese, by Tintoretto" Bulletin of the Museum of Fine Arts 26, no. 153 (1928): 2.

Jacopo Tintoretto (1519-1594)

A. C. J. "Portrait of Alessandro Farnese, by Tintoretto." Bulletin of the Museum of Fine Arts 26, no. 153 (1928): 2-3. 

Bensusan, Samuel Levy. Tintoretto. London; F.A. Stokes Co.: New York, 1908.

“Scuola Grande Di San Marco.” Scuola Grande di San Marco | Art Atlas. Columbia University. Accessed September 24, 2020. https://mcid.mcah.columbia.edu/art-atlas/venice-and-its-lagoon/scuola-grande-di-san-marco.

“The Miracle of the Slave, Also Known as The Miracle of Saint Mark.” Gallerie dell'Accademia di Venezia. Gallerie dell'Accademia di Venezia, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark.

Tietze, Hans. "The Tintoretto Exhibition at Venice." The Burlington Magazine for Connoisseurs 71, no. 414 (1937): 133-35. 

Image Source:

Tintoretto, Jacopo. The Miracle of the Slave. Gallerie Accademia di Venezia. Accessed September 24, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark.

Scuola Grande di San Marco

Image Source: Tintoretto, Jacopo. The Miracle of the Slave. Gallerie Accademia di Venezia. Accessed September 24, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark.

1548

Carmel Falek

Public Domain. Image Source: Tintoretto, Jacopo. The Miracle of the Slave. Gallerie Accademia di Venezia. Accessed September 24, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark.

Oil on canvas, 416.0 x 544.0 cm

Painting

Gallerie dell'Accademia, Venice, Italy