Marietta Robusti

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".

She was recognized mainly as a portraitist,[5] however, Emperor Maximilian and King Philip II of Spain both expressed interest in hosting her as a court painter so knowledge of her skills had to be known to contemporaries.

After her death, a noticeable decline in the work produced by Tintoretto was ascribed to his grief over the loss of his daughter, rather than the likelihood that he lost his most skillful assistant.

[6] Given the suppression of recognition of her work, until modern times the only painting that had been attributed conclusively to Marietta Robusti was her Self-portrait (c. 1580; Uffizi Gallery, Florence).

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 by one reviewer that the inclusion of the text of this madrigal, 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 specific male viewer.

Old Man and a Boy (c. 1585; Kunsthistorisches Museum, Vienna) that was long considered one of the finest portraits by her father, was revealed in 1920 to be painted by Marietta Robusti.

[5] Following Marietta Robusti's death she became a muse for Romantic painters such as Léon Cogniet who produced Tintoretto Painting His Dead Daughter in 1846.