How to Power Dress Like History’s Greatest Women โ€” Google Arts & Culture



In childhood Jacopo, a born painter, began daubing on the dyer’s walls; his father, noticing his bent, took him to the studio of [[Titian]] to see how far he could be trained as an artist. This was supposedly towards 1533, when Titian was already (according to the ordinary accounts) fifty-six years of age. Tintoretto had only been ten days in the studio when Titian sent him home once and for all, the reason being that the great master observed some very spirited drawings, which he learned to be the production of Tintoretto; and it is inferred that he became at once jealous of so promising a scholar. This, however, is mere conjecture; and perhaps it may be fairer to suppose that the drawings exhibited so much independence of manner that Titian judged that young Jacopo, although he might become a painter, would never be properly a pupil.{{sfn|Rossetti|1911}}

[[File:Madonna with Child,Tintoretto.jpg|thumb|left|”Madonna with Child and Donor”, [[National Museum of Serbia]], [[Belgrade]]]]

From this time forward the two always remained upon distant terms, Tintoretto being indeed a professed and ardent admirer of Titian, but never a friend, and Titian and his adherents turning the cold shoulder to him. Active disparagement also was not wanting, but it passed unnoticed by Tintoretto. The latter sought for no further teaching, but studied on his own account with laborious zeal; he lived poorly, collecting casts, bas-reliefs etc., and practising by their aid. His noble conception of art and his high personal ambition were evidenced in the inscription which he placed over his studio ”Il disegno di Michelangelo ed il colorito di Tiziano” (“[[Michelangelo]]’s design and Titian’s color”).Nichols, Tom. ”Tintoretto. Tradition and Identity”. Redaktion Books, 1999, p. 14.

He studied more especially from models of Michelangelo’s ”Dawn”, ”Noon”, ”Twilight” and ”Night”, and became expert in modelling in wax and clay method (practised likewise by Titian) which afterwards stood him in good stead in working out the arrangement of his pictures. The models were sometimes taken from dead subjects dissected or studied in anatomy schools; some were draped, others nude, and Tintoretto was to suspend them in a wooden or cardboard box, with an aperture for a candle. Now and afterwards he very frequently worked by night as well as by day.{{sfn|Rossetti|1911}}


The golden-rod is yellow;
The corn is turning brown;
The trees in apple orchards
With fruit are bending down
The gentian’s bluest fringes
Are curling in the sun;
In dusty pods the milkweed
Its hidden silk has spun
The sedges flaunt their harvest,
In every meadow nook;
And asters by the brook-side
Make asters in the brook,
From dewy lanes at morning
The grapes’ sweet odors rise;
At noon the roads all flutter
With yellow butterflies
By all these lovely tokens
September days are here,
With summer’s best of weather,
And autumn’s best of cheer
But none of all this beauty
Which floods the earth and air
Is unto me the secret
Which makes September fair
‘Tis a thing which I remember;
To name it thrills me yet:
One day of one September
I never can forget.


Planting seeds: Spiritual Truth
My own awakening has brought a amazing awareness beyond thought or perception. It has profoundly changed the way I view myself and the world around me. Freeing me from the fears of my own thinking and emotions and connecting me to everything. I was wishing I could share it with others until I understood I can’t give anyone what they already have within them but simply fail to recognize. Now my wish is for others to find themselves!! Truly finding myself I now see that was what had been missing to fill the hole I felt inside… I was missing me!! โค๏ธโค๏ธโค๏ธThe beauty and grace I see in everyone is waiting for them to find it themselves!! We can search the entire world looking to others, but…..Awakening to our own spirit is amazing!!