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Portrait of Ottavio Strada

1567 · Rijksmuseum, Amsterdam

portrait

The artist Marietta Robusti, Jacopo Tintoretto's favourite daughter, pupil, and assistant, aged about 16 when she painted this portrait, subliminally reveals the character of her sitter, the young art dealer Ottavio Strada (1550-1607). With an expression of assumed innocence, he greedily accepts the gold and silver coins poured into his hand from a cornucopia by a female allegorical figure. He anxiously clutches a small, apparently classical statue he has just acquired, index ringer insinuated significantly between its legs.

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Portrait of Ottavio Strada

About the Artist

Marietta Robusti

15541590

Marietta Robusti (Tintoretto), Italian painter, daughter of Tintoretto. She was taught by her father and assisted him in his workshop. It is said that while young, he had her dress like a boy and follow him everywhere. As his favourite daughter, Jacopo also had her married to a local jeweller to keep her near him. Marietta does not appear to have received commissions for major religious paintings, and, like other women artists in this period, she worked primarily as a portrait painter. Apart from a Self-portrait (Florence, Uffizi), no work can be assigned to her with certainty. The three portraits attributed to her in Madrid (Prado) include a possible self-portrait. The only surviving painting that may be signed by her is a Portrait of Two Men (Dresden, Gemäldegalerie), which bears the initials MR. Ridolfi wrote that her portrait of the antiquarian and collector Jacopo Strada attracted the attention of Emperor Maximilian II, who enquired about her employment as court painter. However, this may be a mistaken reference to the portrait of Strada's son Ottavio Strada (Amsterdam, Stedelijk Museum). Philip II of Spain apparently showed a similar interest in Marietta's work. A few small religious paintings are attributed to her, including two pictures of the Virgin and Child (both Cleveland, OH, Museum of Art), and her work as an assistant is thought to be evident in certain of her father's paintings (e.g. St Agnes Reviving Licinio, c. 1578-79; Venice, Madonna dell'Orto). Two drawings after models (private collection) are also assigned to her and were probably executed while she was in her father's workshop.

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