12 Fig. 2 MAR I ET TA ROBUST I Study of a Bust of Vitellius (verso) c. 1564, charcoal, heightened in white on blue paper, 390× 280 mm, private collection Cat. 22 Pseudo-Vitellius (cast of a marble head in Genoa) Plaster, h.: 37 cm, w.: 25 cm, d.: 28.5 cm, Staatliche Kunstsammlungen Dresden, Skulpturensammlung bis 1800, inv. no. ASN 1987 to the miraculous scene, with her left armwrapped around the prone figure of a girl nestling against and looking up at her, the other seen from behind, ascending the stairs with a girl to her left. The stature and proportions of the two girls in the picture suggest that they are four or five years old. Since the painting was completed by 1556 at the latest, Marietta, if she was indeed the model, would have to have been born no later than 1552.12 If Tintoretto prepared the figure studies earlier or completed the work in 1553, as suggested by Pallucchini and Rossi, an even earlier date of birth would be conceivable.13 As shall be explained later, the year of Marietta’s birth is relevant to the question of authorship of works from Tintoretto’s studio. Attributions toMarietta are also problematic because she adopted her father’s style, as did her brother Domenico, to whom neither Borghini nor Ridolfi dedicated a biography.14 Successful workshops such as Tintoretto’s sought to ensure that their entire output was executed in the master’s signature style. There was no incentive for family members who worked with him to cultivate an individual manner, let alone sign the works they produced.15 Despite this, drawing on the scant biographical information, there have been attempts to attribute works to Marietta on the basis of stylistic characteristics or a signature.16 After all, she was active in Tintoretto’s workshop for some 20 years and must have produced or collaborated on a substantial number of paintings.
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