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Trinity, 1564-1568, 122 × 181 cm, Galleria Sabauda, Turin; Crucifixion, 1568, 341 × 371 cm, church of San Cassiano, Venice; Descent into Limbo, 1568, 342 × 373 cm, church of San Cassiano, Venice; Paintings for the chancel of the church of San Rocco, 1567, church of San Rocco, Venice. Saint Roch in Prison Comforted by an Angel, 300 × 670 cm
The painting was a triumphant success, despite some detractors. Tintoretto's friend Pietro Aretino praised the work, calling particular attention to the figure of the slave, but warned Tintoretto against hasty execution. [15] As a result of the painting's success, Tintoretto received numerous commissions.
Pages in category "Paintings of the Holy Trinity" The following 29 pages are in this category, out of 29 total. This list may not reflect recent changes. ...
Paintings by Jacopo Tintoretto (1518−1594) — a Late Italian Renaissance and Mannerist painter from the Republic of Venice. Pages in category "Paintings by Tintoretto" The following 40 pages are in this category, out of 40 total.
This painting is one of the most dramatic versions of the Crucifixion in the history of Christian art. [1] Tintoretto painted other images of the Crucifixion as well, including one that is in the Church of San Cassiano in Venice (1568), [2] one that is in Church of the Gesuati in Venice (c. 1565)., [3] and one that is in the Gallerie dell ...
Baroque Trinity, Hendrick van Balen, 1620, (Sint-Jacobskerk, Antwerp) Holy Trinity, fresco by Luca Rossetti da Orta, 1738–39 (St. Gaudenzio Church at Ivrea). The Trinity is most commonly seen in Christian art with the Holy Spirit represented by a dove, as specified in the gospel accounts of the baptism of Christ; he is nearly always shown with wings outspread.
The painting underwent a thorough cleaning and restoration in the National Gallery shortly before 1979. The scientists of the Gallery also investigated the technical aspects of the painting and the painting materials used by Tintoretto. [14] Main pigments in this painting are ultramarine, red lakes (kermes, madder and lac), malachite and azurite.
The iconography of the Trinity, flanked by Mary and John or including donors, is not uncommon in Italian art of the late 14th and early 15th centuries, and the association of the Trinity with a tomb also has precedents. No precedent for the exact iconography of Masaccio's fresco, combining all these elements, has been discovered, however.