The present portrait is clearly much inspired by Jacopo's work, and in its published history has always been considered as such. It contains, however, Domenico's characteristic preference for a greater range of colour, and his predilection for ancillary details, reflected here in the depiction of the landscape, which occupies a significant proportion of the painting. Jacopo did depict Venetic landscapes in several of his portraits, one of the most painterly of which appears in the Portrait of Marino Grimani, in the Los Angeles County Museum of Art.2 But many of his most characteristic and successful portraits are those devoid of background details, focusing attention on the principal subject.
In deliberate contrast to this feature of his father's works, and through the influence of Jacopo's Flemish assistants - the landscape painters, Lodewijk Toeput (il Pozzoserrato) and Pauwels Francke (Paolo Fiammingo) - Domenico developed the portrayal of landscape backgrounds in his portraits, such as the Portrait of a Sculptor, in the Alte Pinakothek, Munich.3 The landscape visible in the present work recalls that in the pendant to Jacopo's aforementioned portrait of Grimani, the Portrait of Dogaressa Morosina Morosini, in the Minneapolis Institute of Arts, attributed to Jacopo's workshop and possibly Domenico,4 as well as to his Portrait of a seated young boy, recorded at the Heim Gallery, Paris and London, in which the likeness of the sitter is remarkably similar to the child on the left of the present work.5
NOTE ON PROVENANCE
Baron Detlev von Hadeln played an important role in the history of Venetian Renaissance scholarship. He published works on Tintoretto, Titian, Veronese and Canaletto, and in 1924 produced an annotated edition of Ridolfi's 1648 survey of the Venetian artists: Maraviglie dell'arte, ovvero le vite degli pittori e dello stato. He studied at the Kunsthistorisches Institut in Florence, 1909-10, where he founded the photographic archive there.
1 See P. Rossi, Jacopo Tintoretto. I Ritratti, vol. I, Venice 1974, p. 129, reproduced fig. 119.
2 See Rossi 1974, p. 111, reproduced fig. 95.
3 See R. Echols and F. Ilchman (eds), Tintoretto. Artist of Renaissance Venice, exh. cat., Washington 2018, p. 167, reproduced in colour p. 166, fig. 146.
4 See Rossi 1974, p. 115, reproduced fig. 96.
5 See Rossi 1974, pp. 119-20, reproduced fig. 121.
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