Christ and the Adulteress (detail). Tintoretto, 1518-1594. Artist : painter Galleria Nazionale d'Arte Antica in Pal. Barberini & Pal. Corsini. ID=IRN still image Painting eng Painted of the adulteress at the moment when Our Lord writes the letters in the dirt with his hand, and the Scribes and Pharisees depart, one after the other, concealing themselves among the columns of a portico that is represented with the most rare perspectival skill; and it is a picture filled with much erudition. The pictorial erudition that so struck Ridolfi is demonstrated in the perspective structure, yet Tintoretto did not achieve this effortlessly: x-rays have revealed errors and redrawings in the lines of the architecture, above all in the patterning of the pavement. Painted of the adulteress at the moment when Our Lord writes the letters in the dirt with his hand, and the Scribes and Pharisees depart, one after the other, concealing themselves among the columns of a portico that is represented with the most rare perspectival skill; and it is a picture filled with much erudition. The pictorial erudition that so struck Ridolfi is demonstrated in the perspective structure, yet Tintoretto did not achieve this effortlessly: x-rays have revealed errors and redrawings in the lines of the architecture, above all in the patterning of the pavement. Style: Italian Mannerist. School: Mannerist Movement: Mannerism. Italian. Painting; Art and Art History Collection (Saskia)
Christ and the Adulteress (detail).
Tintoretto, 1518-1594. Artist : painter
Galleria Nazionale d'Arte Antica in Pal. Barberini & Pal. Corsini. ID=IRN
still image
Painting
eng
Painted of the adulteress at the moment when Our Lord writes the letters in the dirt with his hand, and the Scribes and Pharisees depart, one after the other, concealing themselves among the columns of a portico that is represented with the most rare perspectival skill; and it is a picture filled with much erudition. The pictorial erudition that so struck Ridolfi is demonstrated in the perspective structure, yet Tintoretto did not achieve this effortlessly: x-rays have revealed errors and redrawings in the lines of the architecture, above all in the patterning of the pavement.
Painted of the adulteress at the moment when Our Lord writes the letters in the dirt with his hand, and the Scribes and Pharisees depart, one after the other, concealing themselves among the columns of a portico that is represented with the most rare perspectival skill; and it is a picture filled with much erudition. The pictorial erudition that so struck Ridolfi is demonstrated in the perspective structure, yet Tintoretto did not achieve this effortlessly: x-rays have revealed errors and redrawings in the lines of the architecture, above all in the patterning of the pavement.
Style: Italian Mannerist.
School: Mannerist
Movement: Mannerism.
Italian.
Painting;
Art and Art History Collection (Saskia)