“Titian, Tintoretto, Veronese: Rivals in Renaissance Venice” at the MFA.
Perhaps the original crucifixion painting remained in Tintoretto’s studio, or was returned. Maybe it was damaged, a patron rejected it, or the patron stiffed the artist. Whatever the reason, the MFA says, “few large paintings from Tintoretto’s studio have been studied in such depth, so we have no idea whether this sort of radical surgery was unique, unusual, or a regular practice.”
“We can only guess why this happened or where the upper part of the Crucifixion might be, if it survives.”
Read Jeffrey Gantz's review .
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