An accessible guide to the foremost figure in Venetian Renaissance painting, tracing Bellini's personal artistic development within historical context Italian Renaissance artist Giovanni Bellini (c. 1435/40-1516) is considered the most important practitioner of Venetian painting in the latter half of the 15th century. Born into a family of painters, Bellini began studying art at a young age, painting primarily in the prevailing Gothic style of the early Renaissance. As time passed and he evolved as an artist, Bellini's wide-reaching influence came to inform the maniera modernainherited by Giorgione and Titian. His unparalleled ability to both harness the expressive power of light and recreate the poetry of natural landscapes became the foundational tenets of the Venetian school of painting for centuries to come. This volume provides an accessible guide to Bellini's work and the lasting influence of his career on Western European painting. Organized chronologically, the book maps the development of Bellini's own craft alongside the greater technical experimentation of the Quattrocento, detailing the artist's abandonment of traditional egg tempera technique for oil on canvas and taking into account the influence of contemporaries Andrea Mantegna and Antonello da Messina. Concise and up-to-date, this publication effectively conveys the magnitude of Bellini's contributions to Western European painting in the wider context of the era.

Praised by Albrecht Dürer as being “the best in painting,” Giovanni Bellini (ca. 1430– 1516) is unquestionably the supreme Venetian painter of the quattrocento and one of the greatest Italian artists of all time. His landscapes assume a prominence unseen in Western art since classical antiquity. Drawing from a selection of masterpieces that span Bellini's long and successful career, this exhibition catalogue focuses on the main function of landscape in his oeuvre: to enhance the meditational nature of paintings intended for the private devotion of intellectually sophisticated, elite patrons. The subtle doctrinal content of Bellini’s work—the isolated crucifix in a landscape, the “sacred conversation,” the image of Saint Jerome in the wilderness—is always infused with his instinct for natural representation, resulting in extremely personal interpretations of religious subjects immersed in landscapes where the real and the symbolic are inextricably intertwined. This volume includes a biography of the artist, essays by leading authorities in the field explicating the themes of the J. Paul Getty Museum’s exhibition, and detailed discussions and glorious reproductions of the twelve works in the show, including their history and provenance, function, iconography, chronology, and style.

Giovanni Bellini (ca. 1435–1516), widely considered the greatest Venetian artist of his time, was born into the most influential artistic family in Venice. He received his training in the studio of his father, Jacopo, along with his brother, Gentile, and through a long and fruitful career played a leading role in defining the Renaissance style in Venice. His workshop, one of the most important of the period, counted Giorgione and Titian among its pupils. The first account of his life, by Giorgio Vasari, also portrays the family artistic enterprise; it appeared in Vasari’s seminal Lives of the Most Excellent Painters, Sculptors and Architects, published in 1550 and revised and expanded in 1568. A century later Carlo Ridolfi, who sought to rectify Vasari’s emphasis on Florentine painters, provides a fuller portrayal of Bellini in his 1648 work The Marvels of Art, or the Lives of the Famous Painters of Venice and Its State. These two narratives are complemented in this book by Marco Boschini’s poetic homage to the artist and by correspondence between the renowned Renaissance patron of the arts Isabella d'Este, Bellini, and others regarding the commission of a painting for her celebrated studiolo in Mantua. Ridolfi’s biography, Boschini’s poem, and the Isabella d’Este correspondence appear here in English for the first time. Full-page color illustrations throughout the book represent the full sweep of Bellini’s career.

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Giovanni Bellini was the leading artist of the early Renaissance in Venice and the master of what was probably the largest workshop of any painter in Italy. Many of the works that are today associated with Bellini are half-length images of the Virgin and Child, a type of painting that became the mainstay of his workshop's production, where they were created and replicated in great numbers to meet the needs of private devotion. The local market was large and its demands were varied in terms of both style and quality, and the Bellini workshop accommodated these demands through standardized methods of production. The essays included in this book examine the practice of workshop replication both to understand the specific working methods of Bellini's shop and to situate artistic practice within the broader context of the demand for particular kinds of images. Ronda Kasl is curator of painting and sculpture before 1800 at the Indianapolis Museum of Art. Other contributors include Keith Christiansen, Antonietta Gallone, Andrea Golden, Cinzia Maria Mancuso, and David Miller.

"The 'Madonna and child' known as 'The Dudley Madonna' was painted around 1508 by Giovanni Belline (c. 1430-1516), one of the most celebrated of Italian artists. This book charts the painting's recent provenance and reception and revisits the context in which it was created. It retraces its critical history from Dudley's nineteenth-century London until today, and reassesses and autograph work by Bellini that during the twentieth century was almost completely overlooked. The years 1505-10 were crucial to Giovanni Bellini's career, and this book examines anew the part he played in the Venetian High Renaissance, noting his response to the upcoming generation (above all Titian) and new ideas coming from central Italy - from Raphael and in particular from the visiting Florentine Fra Bartolomeo." -- book flyleaf.

Presents a survey of sixty Venetian Renaissance paintings of the calibre of Bellini and Titian's "Feast of the Gods" in Washington and Giorgione's "Laura and Three Philosophers" in Vienna.