Giovanni Bellini
| Giovanni Bellini | |
|---|---|
Self-portrait
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| Born | c. 1430 Venice |
| Died | 1516 Venice |
| Nationality | Venetian |
| Known for | Painting |
| Movement | Renaissance |
Giovanni Bellini (c. 1430 – 26 November 1516) was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini (who, during his lifetime, was more highly regarded than Giovanni, although the reverse is true today), and his brother-in-law was Andrea Mantegna. He is considered to have revolutionized Venetian painting, moving it towards 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 coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.
Giovanni Bellini was born in Venice. He was brought up in his father's house, and always lived and worked in the closest fraternal relation with his brother Gentile. Up until the age of nearly thirty we find in his work a depth of religious feeling and human pathos which is his own. His paintings from the early period are all executed in the old tempera method; the scene is softened by a new and beautiful effect of romantic sunrise color (as, for example, in the St. Jerome in the Desert).
In a somewhat changed and more personal manner, with less harshness of contour and a broader treatment of forms and draperies, but not less force of religious feeling, are the Dead Christ pictures, in these days one of the master's most frequent themes (an example is the Dead Christ Supported by the Madonna and St. John, or Pietà). Giovanni's early works have often been linked both compositionally and stylistically to those of his brother-in-law, Andrea Mantegna.
In 1470 Giovanni received his first appointment to work along with his brother and other artists in the Scuola di San Marco, where among other subjects he was commissioned to paint a Deluge with Noah's Ark. None of the master's works of this kind, whether painted for the various schools or confraternities or for the ducal palace, have survived.
To the decade following 1470 must probably be assigned the Transfiguration now in the Capodimonte Museum of Naples, repeating with greatly ripened powers and in a much serener spirit the subject of his early effort at Venice.
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