Daughters of the Doge (Richard Stocker) by Edward Charles

Author:Edward Charles [Charles, Edward]
Language: eng
Format: epub, mobi
Publisher: Macmillan Publishers UK
Published: 2011-02-21T23:00:00+00:00

CHAPTER 41

March the 28th 1556 – Bottega di Tintoretto

‘Come, Richard, look at this.’

A storm had blown in earlier that morning. Rain hammered on to the windows above us and the light was very poor; hardly good enough to paint by. The group took it all philosophically and there was a relaxed mood as everyone tidied up and did odd jobs, preparing for when the light improved again. Jacopo Tintoretto took me across to a canvas on the far side of the studio workshop. The work was unfinished, but already the chubby angels were soaring above us, looking down on the Madonna below and at the sweeping scenery behind her.

‘What do you see?’

This was difficult: to have Tintoretto himself show me what I assumed was one of his paintings and to ask me what I thought. I cast my mind back to previous teaching sessions, when he had let me sit in with his garzone and the assistente who formed the working group under his guidance and leadership.

‘Although it is unfinished and the colours are not completed, already I feel comfortable with it, as if it tells me the story and if I had to, I could fill in the incomplete parts.’

‘Excellent.’ Jacopo smiled broadly at my reply.

‘Now, do you know why you feel so comfortable?’

‘Is it the composition?’

‘Yes, in part. We say that oil painting is based on the “trinity”. First we have invenzione – the development of the subject matter of the picture and the way it is laid out on the canvas – to tell a story. Second comes the precise use of perspective and the excellence of the drawing itself, giving form to the figures, so they do not look as if they have been cut from drawing paper and stuck on to the background scenery. We call this disegno – the detailed design of the painting, and the creation of life through tonal differences, light and shade. What follows is colorato – the choice and application of colour – but we will come to that later. The point I want to make to you now is that, eight years ago, the man who created the image before you could not draw as well as you do now. It is a learned skill, and he has learned it well.’

I was surprised. ‘Whose work is it?’

‘Gentile’s. I will tell you in private that he can draw better than I can – but don’t tell him so. That’s why we call him Michelangelo – that and his lumpy great face!’

He called across the studio. ‘Ehi, Michelangelo!’

Gentile looked up and walked over, smiling.

‘How long have you been with us here, Gentile?’

‘Eight years, maestro. I came when I was fourteen and I am now twenty-two.’

Tintoretto nodded. ‘And how well could you draw when you came here?’

‘Not at all, maestro. I remember the first day you told me to draw a straight line and a perfect circle. They took me a week, and even then they were not as good as they should have been.

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