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= Marietta Robusti = Marietta Robusti (1560? – 1590) was a Venetian painter of the Renaissance period. She was the daughter of Tintoretto and is sometimes referred to as  la Tintoretta or Marietta Tintoretto. She is known as a talented portrait painter associated with her father's workshop. As a woman, she was able to break out of the social norms of the time and become educated in music as well as painting. Many of the portraits associated with her are of high class Venetians and Italians as well as a probable self-portrait. While there are many paintings attributed to her, there are debates among scholars over these attributions. Her status as a woman and as a member of a family workshop make conclusive attributions to her difficult.

Biography
The only known primary source for details of Marietta Robusti's life is Carlo Ridolfi's Life of Tintoretto, first published in 1642, although she is mentioned briefly in Raffaelo Borghini's Il Riposo della Pitura e della Scultura of 1584. These two sources disagree on the year of her birth: according to Borghini, she was born in 1555, but Carlo Ridolfi indicates that she was born in 1560. She was Tintoretto's illegitimate child whose mother was probably an unknown German woman.

Marietta Robusti was probably born in 1560 and died when she was thirty during child birth. She lived in Venice all her life. She was the eldest daughter of the painter Jacopo Robusti, from whom she inherited her nickname, la Tintoretta (translated as "little dyer girl", after Jacopo's father's occupation as a tintore, or dyer). She is thus variously known as Marietta Robusti, Marietta Tintoretto, and la Tintoretta. She was followed by three brothers and four sisters.

Since conventions of the time dictated that women remained in the privacy of the domestic sphere and were not welcome in the public world of art production and sale, Robusti and her female contemporaries gained access to the art world through their her artist father s or brothers. Robusti's artistic training consisted of serving an apprenticeship in the collaborative environment of her father's workshop, where she probably contributed to her father's paintings with backgrounds and figure blocking, as was the usual distribution of labor in painting workshops of the time. Though Robusti's social and economic autonomy was no greater than other artisan women she had quite a following, changing the ideals of femininity within the arts. After her death, Carlo Ridolfi stated she was one of the most illustrious women of her time, having the same manner of skill as her father while displaying "sentimental femininity, a womanly grace that is strained and resolute." Robusti is most well-known as a portraitist, While Robusti worked in her father's studio it was also said that she worked on altarpieces as an assistant to Tintoretto but her achievements were buried under the name of her father.

Ridolfi describes Robusti's close relationship with her father at great length. Not only did she learn at his knee, as a child she also liked to dress like a boy so that she could go everywhere with Jacopo. Emperor Maximilian and King Philip II of Spain both expressed interest in hosting her as a court painter, but her father refused their invitations on her behalf because he couldn't bear to part with her. In 1578 he arranged for her to marry a Venetian jeweler and silversmith, Jacopo Augusta, to ensure she would always stay near him. Jacopo also had Marietta instructed in singing and playing the harpsichord, clavichord, and lute. Marietta and her husband had possibly up to two children, a girl named Orsola born in 1580 and a boy named Vespasiano. She died of unrecorded causes in 1590, and was buried in Santa Maria del’Orto in Venice.

After her death the decline in work produced by Tintoretto was ascribed to grief for his daughter, rather than the loss of a skillful assistant.

After Marietta Robusti's death she became a muse for Romantic painters such as Léon Cogniet who produced Tintoretto Painting His Dead Daughter in 1846 and Eleuterio Pagliano who painted Tintoretto and His Daughter in 1861. The trope of women artists being transformed from creators to subjects for male counterparts made her a motif for male creativity, displaying a dying muse of quietly suffering femininity.

Evidence suggests that Robusti received no commissions for major religious works such as altarpieces or other church decorations, and that she was mainly a portraitist.

Self Portrait, Uffizi Gallery
The only painting that can be conclusively A commonly attributed to Marietta Robusti is her Self Portrait (c. 1580; Uffizi Gallery, Florence). The attribution is cited in letters between Marco Boschini and Cardinal Leopoldo de’ Medici who describe the painting as a self-portait by Robusti. This portrait depicts Marietta posed before a harpsichord, holding a musical text that has been identified as a madrigal by Philippe Verdelot, "Madonna per voi ardo". It has been postulated that the inclusion of this text, whose opening lines are "My Lady, I burn with love for you and you do not believe it", suggests that the painting was created for a male viewer, possibly Marietta's husband.

However, there is debate among scholars over the attribution to Robusti. There is discussion that it would be unusual for Robusti to paint herself as a woman on display. Some scholars say that this painting could have been painted by a man due to the hints at romantic interests such as her subtle smile and openness to the viewer. While the letters between Marco Boschini and Cardinal Leopoldo de Medici attribute the painting to Robusti, there is also discussion that Boschini attributed the painting to her in order to appeal to Cardinal Leopoldo de Medici's interest in owning a portrait by a female painter. In addition, some scholars claim that the style of this self-portrait is more that of Verona than the style of Tintoretto's workshop.

Portrait of a Gentlewoman, Kunsthistorisches Museum
Portrait of a Gentlewoman in the Kunsthistorisches Museum, Vienna, is a half-length, full-frontal image of Robusti. She is wearing a very elegant dress and lots of jewelry contributing to her very stiff posture and neutral expression.

It was not attributed to Robusti until 1938. This attribution is also contested. It was first attributed to Titian in 1659, then to Robusti's father, Jacopo Tintoretto in 1893, until finally attributed to Robusti in 1938. Some scholars believe that the painting style is less like a self-portrait and was more likely painted by her father as introduced in 1893. This claim is also backed up by the fact that many painters used their daughters as models during this time period. However, many museums, such as the Prado Museum, label this painting as a probable self-portait by Robusti.

Portrait of an Old Man and a Boy, Kunsthistorisches Museum
Portrait of an Old Man and a Boy (c. 1585; Kunsthistorisches Museum, Vienna) is also commonly attributed to Marietta Robusti. It was long considered one of Tintoretto's finest portraits and was not revealed to be Robusti's until 1920 when her monogram was found on the painting after a cleaning. In addition to the monogram, there are many stylistic similarities between this painting and Robusti's other attributions.

This painting is of Marco dei Vescovi and his son Pietro, although due to the great age difference between the two figures, it could also be a portrait of a grandfather and grandson. The man commonly recognized to be Marco dei Vescovi is sitting in a chair looking to the ground, while Pietro is engaging with the audience. Pietro is wearing a very rich and detailed coat, while Marco dei Vescovi is dressed modestly in all black.

Portrait of Ottavio Strada, Rijksmuseum
The Portrait of Ottavio Strada (c. 1567-1568; Rijksmuseum, Amsterdam) is an allegorical painting portraying Ottavio Strada, the son of the antiquary Jacopo Strada. In the painting, Strada is accompanied by a representation of Fortune who is giving him a cornucopia of coins on the right. On the left is a statue of Venus.

The Rijksmuseum attributes this painting to Tintoretto, however there is speculation that the portrait could have been executed by Robusti. Some argue that this portrait should be attributed to Robusti after finding a drawing done by her which resembles the statue of Venus in the Portrait of Ottavio Strada. Another argument for the attribution to Marietta is that the style of the painting is that of an assistant of Tintoretto rather than the master himself. Others argue that this portrait is Tintoretto's citing that Marietta would have been a teenager at the time of the completion of this painting and would be too young to execute a complex allegorical painting. In addition the style of this painting is very similar to that of Tintoretto in the 1560s when looking at the brush strokes and under sketch.

Other Attributions
Other attributions include, Old Man and a Boy (c. 1585; Kunsthistorisches Museum, Vienna), which was long considered one of Tintoretto's finest portraits and was not revealed to be Robusti's until 1920; Portrait of Ottavio Strada (c. 1567-68; Rijksmuseum, Amsterdam);  and two small paintings of the Virgin and Child (dates unknown, Cleveland Museum of Art, Ohio). Portrait of Two Men (Gemäldegalerie Alte Meister, Dresden), signed "MR", is thought to be Marietta Robusti's only surviving signed work. She is also credited to have executed a series of drawings in the Rasini Collection in Milan, a woman's portrait in the Contini Collection in Florence, Venetian Lady (Museo del Prado, Madrid), and Portrait of an Old Woman with a Youth (Kunsthistorisches Museum, Vienna).

She is also know to have worked with her father on bigger pieces such as The Miracle of Saint Ines, Baptism, and Virgin in Glory with Two Saints and Two Dukes (Gallerie dell’Accademia, Venice).

Difficulties with Attribution
There are many debates and discussions among art historians concerning the different works attributed to Marietta Robusti. Her identity as a woman and part of Tintoretto's workshop complicate the identification of her paintings. Tintoretto's work shop operated as a family unit, where each painting was attributed to the family as a whole instead of an individual. This complicates the work of identifying Robusti's work, it is made more difficult when considering that she is a woman and therefore was probably subservient to her brothers in the workshop. Other factors contributing to the challenges associated with her paintings is that she is often said to paint in her father's style and that her brushstrokes are identical to her father.