While Tintoretto’s achievements were considerable, he was, in some ways, “a victim of his own success,” said Echols. In his aggressive pursuit of new commissions, Tintoretto bit off more than he could chew. He consequently employed a large studio, and had numerous followers and imitators who were unable to recreate Tintoretto’s swift, personal technique—but whose paintings are nonetheless often attributed to him. “The result is that there are many paintings all over Venice that are second-tier,” argued Echols, whose dissertation involved weeding out dozens of these misattributions. “And those are the paintings that people generally have in mind when they say they don’t really like Tintoretto.” Shining a spotlight on the very best of his work, they hope to give Tintoretto back his voice—one characterized by a painterly, experimental approach to his medium, an appetite for drama as expressed through the human body, and a deep empathy for his fellow Venetian citizens.