Showing at the Eric Morecambe Centre…
Tintoretto’s extraordinary production pace earned his nickname ‘Il Furioso’ (“The Furious”). Without formal training or the benefit of apprenticeship with a major artist he found work the hard way: delivering faster and under cutting competitors like Titian and Veronese. A scourge of the Venetian art market, he worked for no fee or just materials cost. His muscular figures with dramatic gestures and motion move through Mannerism into the excitement of Baroque art. Internationally famous by the end of his life, he never forgot his roots and early support from poorer churches and scuole. What drove his ambition, and why did he give away so much of his work?
Julia Musgrave’s career in Chemical engineering and IT changed direction in 2008 when she began studying art history at the Courtauld Institute, followed by Glasgow and York Universities. Her PhD examines Roger Fry, the Bloomsbury Group and the British art world’s social networks’ involvement in the development of the Contemporary Art Society from 1910 to 1939. She teaches at City Lit and the Highgate Literary and Scientific Institution (HLSI).
Further information, guest ticket prices and membership fees can be found at: www.tashe.org.uk
