Christian Paintings of Jesus Cast Your Nets on the Right Side Portrait Art High Quality Hand Painted

The high quality of Christ at the Sea of Galilee has always been recognized. Seascapes are rare in Venetian painting, and here the turbulent waters, with their flickering highlights, as well as the blustering clouds and the play of light on the distant shore, are rendered with a painterly panache that has in retrospect evoked the names of Théodore Géricault and Eugène Delacroix. [one] [1]
Tancred Borenius, "A Seascape past Tintoretto," Apollo ii (July–December 1925): 249. The disjunction between the vigor of the landscape and the sketchy and attenuated figure of Christ, evidently unfinished in some passages, contributes to a mystical, almost hallucinatory effect that has been compared to some of Jacopo Tintoretto's cracking paintings at the Scuola Grande di San Rocco. [2] [2]
For example, Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, 1979), 106. Almost scholars accept considered the picture to be an autograph work by Tintoretto, and many accept ranked it among his masterpieces. However, the painting is so fundamentally unlike from Tintoretto's art that information technology can be removed from his autograph oeuvre without hesitation.

The picture has never been located convincingly in Tintoretto'southward oeuvre: datings accept ranged from August L. Mayer'south 1546/1555, through Rodolfo Pallucchini and Paola Rossi's 1558/1562 and Terisio Pignatti's later 1570s, to Tintoretto'south last years, 1591/1594, as favored by Lionello Venturi, Erich von der Bercken, and Pierluigi De Vecchi. [3] [iii]
Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, 1982), i:178–179, cat. no. 224; Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, 1979), 106; Lionello Venturi, Pitture italiane in America (Milan, 1931), no. 411; Erich von der Bercken, Dice Gemälde des Jacopo Tintoretto (Munich, 1942), 88, 118; Pierluigi De Vecchi, Fifty'opera completa del Tintoretto (Milan, 1970), 133, no. 290. A copy of August L. Mayer'south manuscript opinion of 1925 is in NGA curatorial files. Nor has the attribution gone unquestioned.

In 1948, Hans Tietze gave the motion picture to El Greco, a conclusion reached by Manolis Chatzidakis in 1950 also. [4] [iv]
Hans Tietze, Tintoretto: The Paintings and Drawings (New York, 1948), 381 (and come across also the manuscript stance by Hans Tietze and Erika Tietze-Conrat quoted below, at note 5); Manolis Chatzidakis, "O Domenikos Theotokopoulos kai e kretiké zographiké," Kretika Chronika iv (1950): 371–440; see also Harold Wethey, El Greco and His School (Princeton, NJ, 1962), i:ninety n. 113, citing Chatzidakis. Hans Tietze, Treasures of the Slap-up National Galleries; An Introduction to the Paintings in the Famous Museums of the Western Earth (New York, 1954), 115, 125, is less definitive on the attribution, noting that the picture is "ascribed to Tintoretto, just may likewise be considered every bit a possible El Greco." In a lengthy written argument in NGA curatorial files, Tietze and Erika Tietze-Conrat argued convincingly that the essential invention, the figure types, the technique, and the coloring of the picture are alien to Tintoretto at every stage of his career. Every bit the Tietzes noted, Tintoretto's art is always based primarily on the human effigy and conveys a fundamental sense of the underlying structure and mechanics of the body, which is absent here. [5] [5]
As Hans Tietze and Erika Tietze-Conrat wrote, in Tintoretto's figure'due south i tin ever "discern a drawing which explains everything. . . . [Here] Christ is an apparition. Instead of a head between his shoulders, instead of skull, eye and mouth to say words, at that place is only a contour, or more than exactly the shadow of a contour." An example that shows how differently Tintoretto treats a comparable effigy is provided in the Finding of the Body of Saint Mark (Pinacoteca di Brera, Milan); run into Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Subsequently Career of Lambert Sustris," Venezia Cinquecento six, no. 12 (1996): 94. Moreover, in Tintoretto'due south paintings, to quote the Tietzes, water is never "in itself an contained means of expression. . . . It is simply the milieu in which some event takes place. In the Washington pic, the sea is not a detail, but the subject of the painting." [vi] [vi]
A prominent example of Tintoretto's treatment of a stormy sea is provided by Saint Marking Rescues a Saracen (Gallerie dell'Accademia, Venice). Although cited past Fern Rusk Shapley, Catalogue of the Italian Paintings (Washington, DC, 1979), 1:645, and Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, 1979), 106, as providing a comparison to the Gallery's painting, the treatment is utterly different there: the sea is rendered with long, curving strokes of white representing the foam over a nighttime blue background. The prominent use of green earth every bit the chief pigment in the seascape in Christ at the Sea of Galilee, noted in the scientific analysis report (see Technical Summary, note 3), is uncharacteristic of Tintoretto and other Venetian painters; it is more common among fresco painters. Run across Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento vi, no. 12 (1996): 149 due north. 109, and the sources cited in that location. The painting'due south unusually sparse pictorial technique, employing well-nigh no impasto, is also uncharacteristic of Tintoretto. [7] [seven]
The thinness of the pigment layers is especially hit given that in that location are essentially iii paintings on top of one another. On Tintoretto's pictorial technique, see Jill Dunkerton, "Tintoretto'southward Painting Technique," in Tintoretto, ed. Miguel Falomir (Madrid, 2007), 139–158; Joyce Plesters, "Preliminary Observations on the Technique and Materials of Tintoretto," in Conservation and Restoration of Pictorial Art, ed. Norman Bromelle and Perry Smith (London, 1976), 7–26. Plesters has stated that she never believed the Gallery'due south painting to exist by Tintoretto (letter of the alphabet to Robert Echols, February seven, 1994, re-create in NGA curatorial files). On the other hand, while the Tietzes' attribution to El Greco accords with the pic's mannerist elements and high quality, the technique, in item the lack of impasto, is equally inconsistent with that of the Cretan painter. [8] [8]
Among those scholars attributing the painting to Tintoretto, a number have seen a connectedness to El Greco, stressing the importance of the painting as an influence on the latter and noting how Tintoretto anticipated some of El Greco's effects; see Georg Gronau's manuscript opinion of April 28, 1935, transcribed in NGA curatorial files; Harold Wethey, El Greco and His School (Princeton, NJ, 1962), ane:90 north. 113; Denys Sutton, "Venetian Painting of the Golden Age," Apollo 110 (1979): 386; Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre east profane (Venice, 1982), one:179.

As the present writer has argued elsewhere, the best caption for the picture'southward peculiar genius lies in an attribution to the Amsterdam-born painter Lambert Sustris during his subsequently career in Venice, a flow which has remained mysterious and largely unexplored. [9] [nine]
Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento 6, no. 12 (1996): 93–149. Born around 1515, Sustris is recorded in Rome in 1536, and within a yr or ii he had settled in Venice. His paintings there prove him to be extremely versatile, moving comfortably back and forth between the conventions of primal Italian mannerism, Titian (in whose studio he is reported to take worked), and northern literalism. [ten] [10]
Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento 6, no. 12 (1996): 96–102, and bibliography at note ten; Bert Westward. Meijer, in Venezia da stato a mito (Venice, 1997), 133–135, 141–143, 532–537; Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993). In the 1540s he was active as a painter of fresco cycles decorating palaces and villas on the Venetian terraferma, and he seems to have played a role in developing the characteristic domestic decoration way there, especially its landscape components, which combine the Roman antique landscapes of Polidoro da Caravaggio with elements of northern panorama and Venetian pastoral lyricism [fig. 1] [fig. 1] Lambert Sustris, Landscape, 1549/1551, fresco, Lonedo di Lugo di Vicenza, Villa Godi Valmarana, Sala dei Cesari. © Bibliotheca Hertziana / Foto: Bartsch, Tatjana . [11] [xi]
Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993), 35–37; Bert Westward. Meijer, "Lambert Sustris in Padua: Fresco'southward en tekeningen," Oud Kingdom of the netherlands 107 (1993): 9–10. He is also recorded by early sources as 1 of the northern artists who worked in Tintoretto's studio, every bit well as Titian's, painting landscapes. [12] [12]
"Lamberto si tratenne per qualche tempo in Venetia, servendo medesimamente alcuna volta à Titiano & al Tintoretto nel far paesi." Carlo Ridolfi, Le maraviglie dell'arte, overo Le vite de gl'illustri pittori veneti, e dello stato (Venice, 1648), 1:204–205; Carlo Ridolfi, Le maraviglie dell'arte, overo Le vite de gl'illustri pittori veneti, e dello stato, ed. Detlev von Hadeln (Berlin, 1914), 1:225. Giorgio Vasari's 1568 Lives implies that Lambert was still alive just no longer in Venice, and his career is not usually discussed beyond this betoken. [13] [13]
Giorgio Vasari, Le vite de' più eccellenti pittori scultori e architettori, ed. Gaetano Milanesi (Florence, 1906), vii:586 Nevertheless, as kickoff noted by Arthur Peltzer, there are indications that he continued to work in Venice, at least occasionally, for more than than three decades and received payments there under the name of "Alberto d'Ollanda" for three official portraits in 1591 that Tintoretto was unable to complete. (Sustris signed paintings as Alberto earlier in his career, and he is identified by the proper name in at least two documents.) [14] [14]
The list of the Venetian painter's guild includes the proper noun "Alberto Fiammingo," and no other proper noun that could reasonably refer to Lambert Sustris. In addition, the visual evidence provided by the iii documented "Alberto" portraits of 1591 is consistent with what Lambert might be expected to accept produced some four decades afterwards his documented portraits, now working in a more Tintoretto-influenced fashion. Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento six, no. 12 (1996): 102–110. On Lambert Sustris as "Albert d'Ollanda," meet Arthur Peltzer, "Chi è il pittore 'Alberto de Ollanda,'" Arte Veneta 4 (1950): 118–122; see also Bert Westward. Meijer, in Venezia da stato a mito (Venice, 1997), 134–135. Many direct links between paintings previously attributed to Tintoretto and works by Lambert advise that during this later stage of his career, Sustris had an association of some kind with Tintoretto. Although the structure of Tintoretto's studio remains unclear, information technology seems likely that he had some associates who worked there relatively independently. Northern artists particularly seemed to have gravitated to the Tintoretto bottega. [15] [15]
Robert Echols, "Tintoretto, Christ at the Bounding main of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento half-dozen, no. 12 (1996): 110–113, 124–137; Bert W. Meijer, "Flemish and Dutch Artists in Venetian Workshops: The Instance of Jacopo Tintoretto," in Renaissance Venice and the North: Crosscurrents in the Time of Dürer, Bellini and Titian, ed. Bernard Aikema and Beverly Louise Brown (Milan, 1999), 133–143; Robert Echols and Frederick Ilchman, "Toward a New Tintoretto Catalogue, with a Checklist of Revised Attributions and a New Chronology," in Jacopo Tintoretto: Actas del congreso internacional/Proceedings of the International Symposium, Museo Nacional del Prado, Madrid, February 26–27, 2007 (Madrid, 2009), 107–109. Lambert Sustris may well have been ane of them.

The attribution of the Gallery'southward painting to Lambert Sustris is based upon strong similarities in works by Lambert to the figure of Christ, the small figures of the apostles, and the landscape. The attenuated figure of Christ, with his rectangular-shaped head, follows the mannerist conventions that Sustris ofttimes used in his early paintings. Because of the sketchiness of the figure, especially close connections can be found in Lambert'southward drawings. For case, in a drawing depicting a Sacrifice to Priapus (Albertina, Vienna) [fig. 2] [fig. two] Lambert Sustris, Sacrifice to Priapus, 1540s, ink and launder on newspaper, The Albertina Museum, Vienna. Photo © Albertina, Vienna , a female nude seen from the rear is articulated in exactly the same way equally the effigy of Christ, especially in the definition of the back, the shoulders, the calves, and the feet, likewise as the distinctive mannerist facial profile. [sixteen] [xvi]
See Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento 6, no. 12 (1996): figs. 8, 9a, and 9b. For other comparable figures, run across 113 and figs. ten and 14 in the same commodity. Christ'south exaggeratedly extended finger reflects a morphological trait that appears in the central effigy in armor in the Sacrifice to Priapus and numerous other drawings and paintings (encounter fig. 1) past Sustris. [17] [17]
Come across Robert Echols, "Tintoretto, Christ at the Body of water of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento vi, no. 12 (1996): figs. 8, ten, 13, and fourteen. The little figures of the apostles in the gunkhole are analogous to those who populate Lambert's frescoed landscapes, and even closer to figures in his drawings, where the sketchily rendered faces oft show the same hollow-eyed, skull-similar appearance and summary handling of the limbs. They are particularly close to a compositional sketch for a Roman triumph (Gabinetto dei Disegni, Uffizi, Florence) [fig. 3] [fig. three] Lambert Sustris, A Roman Triumph, 1540s, ink and wash, with white heightening, on paper, Gabinetto dei Disegni e delle Stampe, Gallerie degli Uffizi, Florence. Photo: Gabinetto Fotografico delle Gallerie degli Uffizi . [18] [eighteen]
See Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento six, no. 12 (1996): 121, fig. 14, identified past Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993), 47, fig. 40. See also Echols, "Tintoretto, Christ at the Sea of Galilee, and . . . Lambert Sustris," figs. 15a, 15b, and 15c.

The landscape in the Gallery's picture show shows striking similarities to Lambert's Paduan frescoes (for instance, 1 at the Villa Godi at Lonedo, Lugo di Vicenza; encounter fig. ane), especially in the treatment of the receding shoreline, the swaths of yellow and dark-green defining the hills in the middle distance, the tree stump, the puffy clouds, and even the boat itself. [19] [nineteen]
Another example is provided by the decoration of the Villa dei Vescovi at Luvigliano. Encounter Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Later on Career of Lambert Sustris," Venezia Cinquecento 6, no. 12 (1996): 98, 145 n. 25, 146 n. 32, figs. 12 and 13; Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993), 73, 136–137; Bert Due west. Meijer, "Lambert Sustris in Padua: Fresco'southward en tekeningen," Oud The netherlands 107 (1993): v. In addition, the panoramic landscape lying below the electric current painting, though visible only through x-radiography and infrared reflectography at 1.5 to i.eight microns [fig. 4] [fig. 4] Infrared reflectogram, Circle of Jacopo Tintoretto (Probably Lambert Sustris), Christ at the Bounding main of Galilee, c. 1570s, oil on canvas, National Gallery of Art, Washington, Samuel H. Kress Drove , [20] [20]
Infrared reflectography was performed using a Santa Barbara Focalplane InSb camera fitted with an H astronomy filter. can too be linked to Lambert'south paintings. As in his Paduan frescoes and other works, the compages includes both classicizing and gimmicky buildings. Among them are several that replicate structures in Lambert's paintings—for instance, a triple-arched span with exact counterparts in his fresco cycles. [21] [21]
See Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993), figs. 33, 34, and 78. While it is non possible to make judgments well-nigh attribution based on the incomplete image of the unfinished portrait painted over the panoramic landscape, what tin can exist seen of the portrait through infrared reflectography is more often than not consequent with both Lambert's earlier document portraits and the 1591 paintings by "Alberto d'Ollanda," while the x-radiographs reveal that information technology lacks the bold brushwork that Tintoretto typically used to sketch in the structural forms of the head when he began his portraits. [22] [22]
For example, in A Procurator of Saint Mark's, National Gallery of Art, Washington, 1952.5.79.

Tintoretto specialists take remained mostly silent about the attribution of the Christ at the Bounding main of Galilee since it has been linked to Sustris. [23] [23]
Bert W. Meijer, "Flemish and Dutch Artists in Venetian Workshops: The Case of Jacopo Tintoretto," in Renaissance Venice and the North: Crosscurrents in the Time of Dürer, Bellini and Titian, ed. Bernard Aikema and Beverly Louise Dark-brown (Milan, 1999), 143, rejected Echols's attribution to Sustris of several other paintings previously assigned to Tintoretto, without explanation, while attributing the landscapes in these pictures to northern painters. He did not, however, include Christ at the Sea of Galilee among the group that he discussed. Robert Echols and Frederick Ilchman, "Toward a New Tintoretto Catalogue, with a Checklist of Revised Attributions and a New Chronology," in Jacopo Tintoretto: Actas del congreso internacional/Proceedings of the International Symposium, Museo Nacional del Prado, Madrid, February 26–27, 2007 (Madrid, 2009), 149, no. C90, reaffirmed the Sustris attribution. They placed the picture in their "Circle of Tintoretto" checklist rather than considering it a studio piece of work, stating, "Although it is possible that this moving picture was executed [by Sustris] in Tintoretto's studio, it is far more distinctive than related works . . . which exemplify the Tintoretto studio 'house style.' Given its exceptionally high quality and the individuality of its style, an attribution to 'studio of Tintoretto' as an alternative to Sustris would not be appropriate in this case, and therefore we practice not include it with the related works in the studio category." Guillaume Cassegrain, Tintoret (Paris, 2010), 45, cited the painting as an example of the complexities involved in the Tintoretto itemize, arguing that it might correspond either an "practice in mode" on the role of Tintoretto, a departure from his usual manner, or the work of a northern painter in Tintoretto'southward studio, such every bit Sustris. While the attribution to Sustris cannot be confirmed with certainty, the picture is surely the piece of work of a painter who fits Sustris's contour: ane who was agile in Venice in the second half of the cinquecento; probably having some association with Tintoretto and certainly aware of his oeuvre and types; familiar with the iconography of northern painting; and painting in a manner that combines mannerist figure types with the landscape mode characteristic of Venetian villa decorations of the 1540s.

Christ'due south pose is loosely related to several other paintings from the Tintoretto studio, including ii versions of the Raising of Lazarus, datable to 1573 (private collection) and 1576 (Katharinenkirche, Lübeck). [24] [24]
Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, 1982), one: cat. nos. 327 and 357; Robert Echols and Frederick Ilchman, "Toward a New Tintoretto Catalogue, with a Checklist of Revised Attributions and a New Chronology," in Jacopo Tintoretto: Actas del congreso internacional/Proceedings of the International Symposium, Museo Nacional del Prado, Madrid, Feb 26–27, 2007 (Madrid, 2009), nos. 159 and 172. A Miraculous Draught of Fishes (private collection; offered Christie's, New York, May 31, 1991, lot 62) by a Tintoretto follower shows a very similar pose; see Pallucchini and Rossi, Tintoretto: Le opere sacre e profane, ane: cat. no. 197; Echols and Ilchman, "Toward a New Tintoretto Catalogue," no. C79. The Gallery's painting tin can be tentatively dated to effectually the 1570s on the theory that there must exist some relationship amongst the pictures.

The painting represents one of Christ'due south several earthly manifestations following the Resurrection, his appearance on the shore of Lake Galilee on the occasion traditionally known as the second "miraculous draught of fishes." As recounted in John 21:ane–13, 7 apostles had fished all night in a boat on Lake Galilee, without success. At dawn, Christ appeared at the shore and told them to cast their nets to the correct side of the boat, where the catch would be plentiful. When Peter recognized Christ, he bandage himself into the water to swim to the shore. The discipline is more frequent in northern than in Italian painting, and the composition of the Washington painting, with its panoramic mural, is characteristically northern in type. [25] [25]
An early prototype appears in Konrad Witz'southward Saint Peter Altarpiece of 1444 (Musées d'Fine art et d'Histoire, Geneva). Mid-16th-century examples include Pieter Brueghel the Elderberry, Landscape with Christ at the Sea of Galilee (private collection, England), 1553, and Maerten van Heemskerck, Christ on the Ocean of Tiberias (Bowes Museum, Barnard Castle, England), 1567; encounter Fritz Grossman, Bruegel: The Paintings, 2nd ed. (London, 1966), 1: pl. 2; and Rainald Grosshans, Maerten van Heemskerck: Die Gemälde (Berlin, 1980), cat. no. 100, fig. 156. A composition peculiarly close to that in the Washington painting occurs in the background of a print later on Lambert Lombard illustrating the Phenomenon of the Loaves and Fishes, dated 1555; see Robert Echols, "Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris," Venezia Cinquecento 6, no. 12 (1996): 126, fig. 16 (item); and Walter S. Gibson, Mirror of the Earth: The World Mural in Sixteenth-Century Flemish Painting (Princeton, NJ, 1989), 33, fig. ii.59. The Gallery's picture has sometimes been seen as representing Christ walking on the water during a storm, and Peter well-nigh to effort to follow his case, as told in Matthew 14:22–29. [26] [26]
While early ascriptions of this latter subject area to the nowadays painting may accept been based on the fact that information technology appears to show Christ with one foot on the surface of the h2o, Anna Pallucchini, followed by Pallucchini and Rossi, insisted on the stormy water every bit the defining element. The subject has been identified equally Christ walking on the water past Tancred Borenius, "A Seascape past Tintoretto," Apollo 2 (July–December 1925): 249; Lionello Venturi, Pitture italiane in America (Milan, 1931), no. 411 ("Christ saving Peter"); Harold Wethey, El Greco and His Schoolhouse (Princeton, NJ, 1962), one:90 northward. 113; Anna Pallucchini, National Gallery, Washington: Musei del Mondo (Milan, 1968), 5; and Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, 1982), 1:178–179, cat. no. 224. Nevertheless, the iconography of the painting as a whole makes information technology clear that the subject is indeed the occasion described in John 21: Christ is standing on the shore, as evidenced by the rocks and vegetation at his feet; there are seven apostles on the boat (not twelve as in the scene of Christ walking on the water); the apostles are casting the internet off the right side of the boat; and the sky suggests that the event takes place at sunrise.

In 16th-century Venice, biblical narrative pictures of this size and format were often hung in the large central halls (portego or sala) of private palaces. [27] [27]
Monika Schmitter, "The Quadro da Portego in Sixteenth-Century Venetian Art," Renaissance Quarterly 64, no. 3 (2011): 693–751.

Robert Echols

March 21, 2019

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Source: https://www.nga.gov/collection/art-object-page.41637.html

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