Abstract
Taking the practice of the sixteenth-century artist Jacopo Tintoretto as its point of departure, this essay attends to the problem of the temporality of artistic practice, and its critical implications for art-historical investigation. Specifically, it considers the stakes -philosophical and art historical- of the contention that a practice is 'not of its time', challenging the tendency, dominant in art-historical scholarship, to situate an object in its time. In their unorthodoxy, the works of Tintoretto challenge this contextualism, and the model of chronological and linear time it upholds, demanding an alternative to this model of a historical time. Drawing on the philosophy of Gilles Deleuze, such an alternative is developed -a time of difference and its untimely return- and some of its most radical potentials for the thought of the work of art againts its historicization are set out.
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