Giovanni Bellini (Italian:[dʒoˈvannibelˈliːni];[1][2]Venetian:Zuane Belin; c. 1430 – 29 November 1516)[3] was anItalian Renaissance painter, probably the best known of the Bellini family ofVenetian painters. He was raised in the household ofJacopo Bellini, formerly thought to have been his father, but now that familial generational relationship is questioned.[4] An older brother,Gentile Bellini was more highly regarded than Giovanni during his lifetime, but the reverse is true today. His brother-in-law wasAndrea Mantegna.
Giovanni Bellini was considered to have revolutionised Venetian painting, moving it toward a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous colouring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupilsGiorgione andTitian. TheBellini cocktail is named in his honour.[5]
Giovanni Bellini was born inVenice. The painterJacopo Bellini had long been considered Giovanni's father, but art historianDaniel Wallace Maze claims that Jacopo was his much elder half-brother, and that Gentile Bellini was his nephew rather than his brother.[4][7] He lived and worked closely with his brother Gentile. His early paintings are all executed in the oldtempera method.
HisDead Christ paintings ( one of his most frequent themes, e.g.Dead Christ Supported by the Madonna and St. John, orPietà) feature less harshness of contour and a broader treatment of forms and drapery.[8][9] Giovanni's early work is often linked compositionally and stylistically to the work of Andrea Mantegna, his brother-in-law.
In 1470, Giovanni received his first commission to work with Gentile and other artists in theScuola di San Marco, where, among other subjects, he painted aDeluge with Noah's Ark.
HisTransfiguration now in theCapodimonte Museum of Naples, was probably painted after 1470, exhibiting greater artistic mastery and a more serene spirit than his early work in Venice.
Also likely from this period is the altarpiece of theCoronation of the Virgin atPesaro, which would seem to be his earliest effort in a form of art previously almost monopolised in Venice by the rival school of theVivarini.
Many of Giovanni's great public works are now lost. His famous altarpiece, painted in tempera for a chapel in thechurch of S. Giovanni e Paolo, was destroyed along with Titian'sPeter Martyr andTintoretto'sCrucifixion in the disastrous fire of 1867.
After 1479–1480, much of Giovanni's time and energy were devoted to his duties as conservator of the paintings in the great hall of theDoge's Palace. The importance of this commission can be measured by the payment Giovanni received: he was awarded, first the reversion of a broker's place in theFondaco dei Tedeschi, and afterwards, as a substitute, a fixed annual pension of eighty ducats. Besides repairing and renewing the works of his predecessors, he was commissioned to paint a number of new subjects, six or seven in all, in further illustration of the part played by Venice in the wars ofFrederick Barbarossa and the pope. These works, executed with much interruption and delay, were the object of universal admiration while they lasted, but not a trace of them survived the fire of 1577; neither have any other examples of his historical and processional compositions come down, enabling us to compare his manner in such subjects with that of his brother Gentile.
Of the other, the religious class of his work, including both altarpieces with many figures and simple Madonnas, a considerable number have been preserved. They show him gradually throwing off the last restraints of theQuattrocento manner; gradually acquiring a complete mastery of the newoil medium introduced in Venice byAntonello da Messina about 1473, and mastering with its help all, or nearly all, the secrets of the perfect fusion of colours and atmospheric gradation of tones. The old intensity of pathetic and devout feeling gradually fades away and gives place to a noble, if more worldly, serenity and charm. The enthronedVirgin and Child (such as the one at left) become tranquil and commanding in their sweetness; the personages of the attendant saints gain in power, presence and individuality; enchanting groups of singing and viol-playing angels symbolise and complete the harmony of the scene. The full splendour of Venetian colour invests alike the figures, their architectural framework, the landscape and the sky.
Madonna and Child with John the Baptist and Saint Elizabeth
An interval of some years, no doubt chiefly occupied with work in theHall of the Great Council, seems to separate theSan Giobbe Altarpiece, and that of the church ofSan Zaccaria at Venice. Formally, the works are very similar, so a comparison between them serves to illustrate the shift in Bellini's work over the last decade of the fifteenth century. Both paintings are of theHoly Conversation (sacred conversation between theMadonna and Saints) type. Both show the Madonna seated on a throne (thought to allude to the throne ofSolomon), between classicising columns. Both place the holy figures beneath a goldenmosaicked half dome that recalls theByzantine architecture in the basilica ofSt. Mark.
In the later work, Bellini depicts the Virgin surrounded by (from left):St. Peter holding his keys and theBook of Wisdom; the virginalSt. Catherine andSt. Lucy closest to the Virgin, each holding amartyr's palm and her implement of torture (Catherine abreaking wheel, and Lucy a dish with her eyes);St. Jerome, with a book symbolising his work on theVulgate.
Stylistically, the lighting in theSan Zaccaria piece has become so soft and diffuse that it makes that in theSan Giobbe appear almost raking in contrast. Giovanni's use of the oil medium had matured, and the holy figures seem to be swathed in a still, rarefied air. TheSan Zaccaria is considered perhaps the most beautiful and imposing of all Giovanni's altarpieces, and is dated 1505, the year following that of Giorgione'sMadonna of Castelfranco.
Other late altarpieces with saints include that of the church ofSan Francesco della Vigna at Venice, 1507; that of La Corona atVicenza, aBaptism of Christ in a landscape, 1510; and that ofSan Giovanni Crisostomo at Venice of 1513.
Of Giovanni's activity in the interval between the altarpieces of San Giobbe and San Zaccaria, there are a few minor works left, although the great mass of his output perished with the fire of theDoge's Palace in 1577. The last ten or twelve years of the master's life saw him besieged with more commissions than he could well complete. Already in the years 1501–1504, the marchioness IsabellaGonzaga ofMantua had experienced great difficulty in obtaining delivery from him of a painting of the Madonna and Saints (now lost) for which part payment had been made in advance.
In 1505, she endeavoured throughCardinal Bembo to obtain from him another painting, this time of a secular or mythological character. What the subject of this piece was, or whether it was delivered, we do not know.
Albrecht Dürer, visiting Venice for a second time in 1506, describes Giovanni Bellini as still the best painter in the city, and as full of all courtesy and generosity toward foreign brethren of the brush.
In 1507, Bellini's brother Gentile died, and Giovanni completed the painting of thePreaching of St. Mark which his brother had left unfinished; a task on the fulfilment of which the bequest by the elder brother to the younger of Jacopo's sketch-book had been made conditional.
In 1513 Giovanni's position as sole master (since the death of Gentile and ofAlvise Vivarini) in charge of the paintings in the Hall of the Great Council was threatened by one of his former pupils. YoungTitian desired a share of the same undertaking, to be paid for on the same terms. Titian's application was granted, then after a year rescinded, and then after another year or two granted again; and the aged master must no doubt have undergone some annoyance from his sometime pupil's proceedings. In 1514, Giovanni undertook to paintThe Feast of the Gods for the dukeAlfonso I of Ferrara.
In both the artistic and worldly sense, the career of Bellini was, on the whole, very prosperous. His long career began withQuattrocento styles, but matured into the progressive post-Giorgione Renaissance styles. He lived to see his own school far outshine that of his rivals, the Vivarini of Murano; he embodied, with growing and maturing power, all the devotional gravity and much also of the worldly splendour of the Venice of his time; and he saw his influence propagated by a host of pupils, two of whom at least, Giorgione and Titian, equalled or even surpassed their master. Bellini outlived Giorgione by five years; Titian, as we have seen, challenged him, claiming an equal place beside his teacher. Other pupils of the Bellini studio includedGirolamo Galizzi da Santacroce,Vittore Belliniano,Rocco Marconi,Andrea Previtali[12] and possiblyBernardino Licinio.
Bellini was essential to the development of the Italian Renaissance for his incorporation of aesthetics from Northern Europe. Significantly influenced by Antonello da Messina and contemporary trends such as oil painting, Bellini introduced the pala, or single-panel altarpieces, to Venetian society with his workCoronation of the Virgin. Certain details in this piece, such as breaks in the modelling of figures and shadows, imply that Bellini was still working to master the use of oil. This painting also differs from previous coronation scenes as it appears as a "window" to a natural scene, and excludes the typical accompanying paradise hosts. The simple scenery allows viewers to relate with more ease to the scene itself than before, reflecting Alberti's humanist and inventio concepts.[13] He also used the disguised symbolism integral to theNorthern Renaissance. Bellini was able to master the Antonello style of oil painting and surface texture and to use this skill to create a refined and distinctly Venetian approach to painting. He blends this new technique with Venetian and Byzantine traditions (previously influencing art in the city) of iconography and colour to create a spiritual theme not found in Antonello's pieces. The realism of oil painting coupled with the religious traditions of Venice were unique elements to Bellini's style, which set him apart as one of the most innovative painters in theVenetian Renaissance.[14][15][16] As demonstrated in such works asSt. Francis in Ecstasy (c. 1480) and theSan Giobbe Altarpiece (c. 1478), Bellini makes use of religious symbolism through natural elements, such as grapevines and rocks. Yet his most important contribution to art lies in his experimentation with the use of colour and atmosphere in oil painting.
In 1822, German artist and composerTherese Emilie Henriette Winkel copied Bellini's workChrist Blessing for an altarpiece for the Brockwitz church in Dresden, Germany, which is still preserved today.[17]
^Luciano Canepari."Bellini".DiPI Online (in Italian).Archived from the original on 21 October 2018. Retrieved19 October 2018.
^Humfrey, Peter (2008)."Introduction"(PDF). In Humfrey, Peter (ed.).The Cambridge Companion to Giovanni Bellini. Cambridge University Press. pp. 1–12.ISBN978-0-521-72855-3.
.jpg)
%2c_1480-85_ca._04.jpg)
