Tintoretto, The Finding of the Body of Saint Mark발음듣기
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Tintoretto, The Finding of the Body of Saint Mark
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(piano music) Male voiceover: We're in the Brera in Milan and we're looking at an enormous painting by Tintoretto, but this is only one of a series of paintings on the subject of Saint Mark, the single most important Saint for the city of Venice.발음듣기
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Female voiceover: This was commissioned for the Scuola of Saint Mark or the confraternity of Saint Mark in Venice by a man named Rangone.발음듣기
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Male voiceover: And he can be seen in the middle of the painting kneeling in that fabulous gold brocade.발음듣기
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So, you have this vast architectural space created by this rushing, exaggerated perspective.발음듣기
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Male voiceover: But before we get lost in the painting, let's talk about what's actually taking place, what's happening here.발음듣기
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Saint Mark had died and was buried in Alexandria that is in Egypt, and the story goes that in the 9th century the Venetian merchants went to retrieve the body.발음듣기
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Female voiceover: These Venetian merchants went to find the body of Saint Mark to bring it back to Christendom from Islamic Egypt, from Islamic Alexandria.발음듣기
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It draws our eye all the way to the back, to that dark back wall, and there we see a number of figures both in shadow and silhouette finding the body of Saint Mark in a tomb brilliantly illuminated, and you can see the stone has been picked up.발음듣기
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We have scene two in the foreground on the left where we see the body of Saint Mark foreshortened, splayed out on the ground on top of a carpet.발음듣기
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Male voiceover: Painted with a wonderful looseness that also reminds me of Mantegna's dead Christ with a wild foreshortening and the way that we look up the body from the feet up towards the head.발음듣기
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Female voiceover: You see the texture of the oil paint and very dark outlines and very stark illumination on that body.발음듣기
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Male voiceover: You also see Tintoretto's patron, the man who paid for these paintings who seems to be gesturing toward the body of Saint Mark in a very protective way.발음듣기
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He's a 16th century Venetian. Male voiceover: There's a kind of collapsing of time, of space. It's a very complicated image.발음듣기
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Not only was the body found in the back of the painting, and then we see the body in the front of the painting but then we see this very noble figure in red and blue who stands up just to the left of this yellow, dead body and that is also Saint Mark.발음듣기
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Female voiceover: Miraculously alive, making this grand gesture to stop the raiding of the tombs that's taking place to the right where we see yet another body being removed from a tomb.발음듣기
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Male voiceover: Okay. So if we look at the architecture you can see again this wonderfully recessive space with all of these arches and to the right of those arches we can see there's a series of tombs that are attached to the walls and in one close to us a figure is gently lowering one of these corpses.발음듣기
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Female voiceover: Finally, on the lower right we see two figures who are possessed by demons who seem to be grabbing the body of a woman who's moving out of the canvas towards us.발음듣기
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Male voiceover: And we haven't even talked about the thing that makes this painting most remarkable, in my eyes, which is the radical use of light, of color, of space.발음듣기
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I've never seen a painter this early that has taken such license with the traditions of painting.발음듣기
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Male voiceover: Look at the way that this produces an image that is so different from anything that we would expect from say Raphael.발음듣기
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Female voiceover: So here we are in the 1560s after the Reformation, after the Council of Trent.발음듣기
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This is Mannerism. All of the balance and harmony that we expect from the high Renaissance when we think about artists like Raphael. We have the opposite here.발음듣기
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