Standing in the largest room of the recent exhibition Tintoretto: Artist of Renaissance Venice at the National Gallery of Art in Washington, I was tempted to judge this Old Master, known for his dramatic staging and intense light, by the company of his sitters. In one enormous painting from c. 1575, Alvise Mocenigo, the doge—that is, highest official—of Venice and his family peer out at us while behind them are the Madonna and Child: the Holy Family itself.
Tintoretto and His Jewish Neighbors
Art historians have almost completely ignored the many connections between the great Old Master and the Jews of Venice. Is there more to be said?