Table of contents:
I. Tintoretto and the Venetian Culture and
Religious Environment
Paul Hills, Tintoretto and Venetian Gothic –
Augusto Gentili, Tintoretto in contesto tra politica e
religione – Benjamin Paul, Archaism and Pauline
Spirituality in Jacopo Tintoretto’s Crucifixion for
SS. Cosma e Damiano – Tom Nichols, False Gods:
Tintoretto’s Mythologies as Anti-poesie –
Bernard Aikema, La casta Susanna
II. Tintoretto and the Art of his Time
Philip Cottrell, Painters in Practice: Tintoretto, Bassano
and the Studio of Bonifacio de’ Pitati – Roland
Krischel, Jacopo Tintoretto and Giulio Romano –
Miguel Falomir, Tintoretto y Tiziano – David Rosand,
Tintoretto and Veronese: Style, Personality, Class –
José Álvarez Lopera, Sobre Tintoretto y el
Greco – Stefania Mason, Domenico Tintoretto e
l’eredità della bottega
III. Connoisseurship
Robert Echols and Frederick Ilchman, Toward a New Tintoretto
Catalogue, with a Checklist of Revised Attributions and a New
Chronology
IV. Technique and Conservation
Erasmus Weddigen, The Works of Tintoretto: Sewn, Designed,
Patched and Cut. The Uncertainty of Canvas Measurements
– Ana González Mozo, El concepto de dibujo en
Jacopo Tintoretto: análisis de los recursos técnicos
utilizados en algunos cuadros del Museo Nacional del Prado
– Robert Wald, Tintoretto’s Vienna Susannah
and the Elders. History, Technique and Restoration
V. Theory and Collecting
Maria H. Loh, Huomini della nostra età.
Tintoretto’s Preposterous Modernity – Almuneda
Pérez de Tuleda, Coleccionismo de Tintoretto en
España en torno a 1600 – Linda Borean, Jacopo
Tintoretto nelle collezioni veneziane del Sei e Settecento
– Leticia de Frutos, Tintoretto en las colecciones del
marqués del Carpio y del Almirante de Castilla