Unlike other great painters of Renaissance Venice, Tintoretto was born in the city and worked there for his entire career. More than any other artist he left his mark on Venice. His paintings are still found in every one of its neighborhoods: in museums and as part of the decorative cycles in public building such as the Scuola Grande di San Rocco, the Palazzo Ducale, and the Marciana Library, and serving as altarpieces or chapel decorations in Venetian churches. Presented in honor of the 500^th anniversary of the birth of this native son, Tintoretto in Venice: A Guide, is a catalogue of all his important paintings on public view in the city. Divided by sections corresponding to the Venetian sestieri, or districts, the volume covers over 120 paintings, including many that have recently received conservation treatment. Entries written by an international team of art historians provide up-to-date information on each picture, covering issues of style, patronage, dating, iconography, conservation, and relation to Tintoretto’s oeuvre as a whole. Beautifully illustrated, the guide will delight visitors to Venice and armchair travelers alike.

Robert Echolsand Frederick Ilchman are the co-curators and catalogue editors for the exhibition Tintoretto 1519–2019 at the Palazzo Ducale, Venice (2018–19), and Tintoretto: Painter of Renaissance Venice at the National Gallery of Art, Washington (2019). They have served as curators or part of the curatorial team and catalogue authors for previous exhibitions devoted to the painter and his context in Madrid, Boston, and Paris. Jointly and separately, Echols and Ilchman have written numerous influential articles on Tintoretto and other Venetian artists. In addition to his work as an independent curator and art historian, Echols is an attorney whose legal career has spanned four decades. Ilchman is Chair, Art of Europe, and the Mrs. Russell W. Baker Curator of Paintings at the Museum of Fine Arts, Boston, where his major exhibitions include Goya: Order and Disorder (2014) and Casanova’s Europe (2018). He currently serves as the Chairman of Save Venice, the largest private organization devoted to the conservation of art and architecture in Venice.

Thomas Dalla Costais a Save Venice Research Fellow and an independent curator. He has a strong interest in the creative process and the pivotal role of drawings in Venetian Renaissance workshops, and he has published articles and catalogue essays on this topic. Together with Viktoria Markova, he curated an exhibition on Venetian Renaissance art at Moscow’s Pushkin Museum (2017).