Miracle of St. Mark (St. Mark Preserving a Christian Slave)

This painting immediately caught my attention with its varying and vivid colors. A key characteristic in this painting is the maniera style, which was the stylistic basis for many of Tintoretto's paintings. [1] Maneira was a way in which "artists developed qualities of grace, novelty, and curiosity in their painting, at the same time adhering to older formal conventions." [2] Looking at this painting it is clear that Tintoretto intended for St. Mark to be the central figure of the painting, as he can be seen coming in from the sky. I also believe Tintoretto painted so many figures in the painting to demonstrate the importance of the event and highlight the sense of calamity it brings. This allows St. Mark to 'swoop' in from the sky and become the hero amongst all the chaos. Furthermore, the accentuation of light around St. Mark's head enhances his status as a prominent religious and mythological figure. The white color of St. Mark's halo gives a sense of purity and hope. This, along with the white architecture in the background, contrast with the spectator's outfits. Many of them are wearing darker colors, specifically red, which is notorious for its symbolism of danger. This painting also depicts the power of religion because although the tortured man was a slave, St. Mark still saw value in his life because the slave was praying in front of his temple. This coincides with the typical religious theme in Venice and its art. This creativity and unique style solidified Tintoretto's presence in Venice. Tintoretto was known his bold and expressive brushwork, which made his paintings seem unfinished to his contemporaries. This is now seen by scholars as a key step in the development of oil-on-canvas painting. [3] Tintoretto took classic religious elements and poured his emotions into his paintings to truly craft a work of art that demonstrated the unique style that was growing in Venice.

[1] Echols, Robert, and Frederick Ilchman. Tintoretto: Artist of Renaissance Venice.

[2] “Maniera.” Encyclopædia Britannica. Encyclopædia Britannica, inc.

[3] Echols, Robert. "Giovanni Galizzi and the Problem of the Young Tintoretto." Artibus Et Historiae 16, no. 31 

Jacopo Tintoretto

Echols, Robert, and Frederick Ilchman. Tintoretto: Artist of Renaissance Venice. Washington: National Gallery of Art, 2018.

Echols, Robert. "Giovanni Galizzi and the Problem of the Young Tintoretto." Artibus Et Historiae 16, no. 31 (1995): 69-110. Accessed October 27, 2020. doi:10.2307/1483499.

“Maniera.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed October 27, 2020. https://www.britannica.com/art/maniera.

Image: Tintoretto (Jocopo Robusti), Venetian, 1518-1594. 1548. Miracle of St. Mark (St. Mark Preserving a Christian Slave). https://library.artstor.org/asset/AHSC_ORPHANS_1071314072.

Tintoretto (Jocopo Robusti), Venetian, 1518-1594. 1548. Miracle of St. Mark (St. Mark Preserving a Christian Slave). https://library.artstor.org/asset/AHSC_ORPHANS_1071314072.

1548

Jared Kreis

(c) 2006, SCALA, Florence / ART RESOURCE, N.Y.

415x541cm, oil on canvas

Painting

Gallerie dell'Accademia, Venice, Italy