![]() ![]() The museum has included Mantegna’s Ecce Homo, from its own collection, in the show. Jacquemart André's founders had a special affinity for the Venetian Renaissance. Twenty-seven other museums and several private collectors also loaned paintings. The exhibition was made possible in part because the Gemäldegalerie closed for renovations, enabling Rowley to bring its masterpieces to Paris. ![]() “One has the impression that light emanates from the painting itself.” “Bellini brings something else to the painting, this transparent, almost translucid light,” says Rowley. Both hold a quill in the right hand and a book in the left, and seem to ignore the dagger plunged in their bosom. Bellini’s Justine, like Mantegna’s, is a tall, sculptural figure whose draped clothing appears carved in marble or cast in bronze. Mantegna had executed a similar painting 20 years earlier. Their influence is seen in Bellini’s Saint Justine (1475, Museo Bagatti Balsecchi, Milan). Mantegna was a stickler for perspective who admired Greco-Roman art and the Florentine sculptor Donatello. He would be buried alongside Gentile nine years later, in the Basilica San Zanipolo.īellini's Virgin and Child with Saint John the Baptist and a Saint (1500, Galleria dell’Academia, Venice)įor a time, the paintings of Bellini and his brother-in-law Mantegna were so similar that their works were sometimes misattributed to the other. When Gentile died in 1507, Giovanni finally inherited their father’s drawings. The neglected son became the most famous in a family of illustrious painters, the official painter of La Serenissima. If Bellini sought affirmation, he certainly received it. She left Jacopo’s precious sketchbooks to Gentile. Nor was he mentioned in the testament of his stepmother, Anna Rinversi. ![]() When his sister Nicolosia married the Paduan painter Andrea Mantegna in 1453, Giovanni was not cited among family members. Historians base their belief that Giovanni was born out of wedlock on two snippets of documentary evidence. Giovanni’s early work is barely distinguishable from that of his father and brother. Jacopo named Giovanni’s older brother Gentile after his own teacher, Gentile da Fabriano, the master of International Gothic. “He achieved this because he was born in the quattrocento, when Venice transitioned from Byzantine domination to becoming Italian.”īellini trained in the atelier of his father Jacopo, whose recognisably Gothic paintings open the exhibition. “I can think of no other artist who absorbed as much from others yet maintained his individuality,” says Neville Rowley, the head of 14th- and 15th-century painting at the Gemäldegalerie in Berlin and co-curator of the exhibition. An exhibition at the Musée Jacquemart André in Paris until July 17th shows the evolution of Bellini’s style, along with masterpieces by his contemporaries. Giovanni Bellini is the undisputed father of the Venetian Renaissance, not only for the power and beauty of his oeuvre, but for the influence he exerted over subsequent generations. ![]()
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