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Portrait of Vincenzo Morosini
Tintorettoabout 1575-80
The National Gallery, London
London, United Kingdom
Vincenzo Morosini (1511 - 1588) held a number of important posts in and around Venice. A Senator, he was Prefect of the Republic in 1555 and Savio di Terrafirma. In 1578 he was appointed Procurator di San Marco de Citra, and in 1584 became President of the University of Padua.
He wears the 'Stola d'Oro' on his right shoulder, the privilege of the Venetian Knighthood.
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Details
- Title: Portrait of Vincenzo Morosini
- Creator: Jacopo Tintoretto
- Date Created: about 1575-80
- Physical Dimensions: 85.3 x 52.2 cm
- Type: Painting
- Medium: Oil on canvas
- School: Italian (Venetian)
- More Info: Explore the National Gallery’s paintings online
- Inventory number: NG4004
- Artist Dates: about 1518 - 1594
- Artist Biography: Tintoretto's family name was Robusti; he took the name Tintoretto from his father's profession of dyer (tintore in Italian). Tintoretto's art is characterised by daring inventiveness in both handling and composition. Most of his paintings are large-scale narratives on canvas, animated by dramatic lighting and gestures. The 19th-century copy of 'The Miracle of Saint Mark' gives an impression of this type of work. Tintoretto was deeply influenced by Titian; he wanted to combine Titian's use of colour with the energised forms of Michelangelo. Tintoretto is usually described as a Mannerist, although his striving for effect is less in the cause of stylishness and more for the sake of narrative drama. He appears to have lived and worked for most of his life in Venice, only once being recorded on a visit outside of the city, to Mantua in 1580. After Titian's death Tintoretto, with Veronese, became one of the leading painters in the city,controlling a large workshop. He designed and worked on a number of commissions for the Doge's Palace, and on an outstanding cycle of paintings for the Scuola di San Rocco, which are still in their original location.
- Acquisition Credit: Presented by The Art Fund in commemoration of the Fund’s coming of age and of the National Gallery Centenary, 1924.
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