Some years later, though, he did concede that, compared to fresh art horrors coming to his attention, “Christo is Tintoretto.”
I want to say something obscure to make me look smart, like a Tintoretto painting.
Tintoretto has here dealt with the story of the saint in his most unequal fashion.
Then there were Tintoretto and Veronese, almost as interesting to our painter.
Tintoretto painted, according to the popular feeling of his period, for the good of mankind.
Tintoretto worked for the good of mankind, and his work throbs with humanity.
The restlessness of Correggio, the violent attitudinising of Tintoretto, belong alike to another and less noble spirit.
Then, Tintoretto asked himself, Why keep to the old forms and the old ideals?
The whole scheme has been worked out in detail in my book on “Tintoretto.”
Young as he was, Tintoretto had all the arrogance of the well-to-do citizen.