This is a detail, an even closer one, from the painting in the posting below: Tintoretto’s St Mark Saving the Slave of 1548. I wanted to get a shot that showed the painter’s brushwork, how he created a convincing sense of shiny fabric crimping on a bending elbow. It’s a complex series of white and shades of blue all done in a quick zig-zag, and yet from just a few feet it’s entirely convincing and evokes a strong sense of the fabric’s sheen, weight, colour, and texture. Note, too, the foreshortened faces. In this painting almost every figure is either completely or partially foreshortened in some way. The ‘Little Dyer’, Jacopo Comin (Tintoretto’s real name; he was the son of a dyer) showing off.