Religious portrait...
8:02 p.m.Giovanni Grimani (1506-1593) was a prominent personality in 16th century Venice. Bishop (although he never became a cardinal), collector and protector of the Arts, he preserved the palace where he lived (legacy of his aristocratic family), which he restored and rearranged to house a large part of his collection of antiques.
Today, the Grimani Palace can be visited to enjoy this extraordinary space that evokes the atmosphere of a 16th century patrician residence and, although all the ornamentation of the palace, along with the core of the collection comes from the Renaissance based in Rome, the portraits for the family were commissioned to the greatest Venetian exponent: Jacopo Tintoretto.
Portrait of Giovanni Grimani, by Jacopo Tintoretto (1550s)
Technique: oil on wood
Portrait of Giovanni Grimani, by Domenico Tintoretto (attr.) (end of 16th century-beginning of 17th century)
Technique: oil on canvas
In one of the rooms there is a portrait of Grimani by Jacopo Tintoretto (Venice, 1518-1594) and, just to the right, another attributed to his son, and first assistant in the workshop, Domenico Tintoretto (1560-1635)
The first artwork in this post was painted by the father and stands out for the particular expression of the sitter: the face full of meaning for those of us who observe it. This is particular characteristic that is revealed in the works of those artists who see beyond the physical appearance, demonstrating the psychological character of the subject.
The second portrait, which was attributed to Domenico, corresponds to an elderly Grimani in a less effective pictorial representation: little is exhibited of the character of the sitter. However, there is a direct relationship between the two paintings with respect to the figure/ground configuration, as in the brushstrokes of the outfit, these elements confirm the origin of both works from the same workshop.
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