Want to meet Giovanni Bellini this weendkend? Check out Giovanni Bellini events:
biglietti in vendita per le tre date fuori abbonamento: venerdì 26 ottobre ore 21:00 sabato 27 ottobre ore 21:00 domenica 28 ottobre ore 18:00
Vi aspetto a San Nicola dagli amici del Nicholas con il mio chitarra bar
Het komende seizoen staat in het teken van twee van de grootste Italiaanse renaissance-kunstenaars, Giovanni Bellini (ca. 1435-1516) en Andrea Mantegna (1431-1506). In de National Gallery in Londen (vanaf oktober 2018) en de Staatliche Museen in Berlijn (vanaf maart 2019) wordt voor het eerst een overzichtstentoonstelling gewijd aan twee schilders die zwagers van elkaar waren en tezamen de renaissance schilderkunst een geweldige impuls hebben gegeven. Mantegna, die in Padua en Mantua werkte, had een grondige kennis van de klassieke oudheid en experimenteerde met anatomie en perspectief. Giovanni Bellini gaf in Venetië een heel eigen interpretatie aan de vernieuwingen van zijn zwager en legde daarmee de grondslag voor de beroemde Venetiaanse schilderschool. Op de tentoonstelling wordt het werk van beide kunstenaars met elkaar vergeleken aan de hand van schilderijen, tekeningen en ook enkele sculpturen. Centraal in de tentoonstelling staan de versies van het thema “Christus op de Olijfberg” en de “Presentatie in de tempel” door de respectievelijke kunstenaars. Kunsthistoricus Ernest Kurpershoek geeft een voorbeschouwing op de tentoonstelling en gaat nader in op bepaalde aspecten van het werk van Mantegna en Bellini en plaatst hun schilderkunst in het perspectief van de tijd waarin zij leefden.
In 1505 she endeavoured through Cardinal Bembo to obtain from him another picture, this time of a secular or mythological character. What the subject of this piece was, or whether it was actually 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 towards foreign brethren of the brush.
In 1507 Bellini's brother Gentile died, and Giovanni completed the picture of the Preaching of St. Mark which he had left unfinished; a task on the fulfillment of which the bequest by the elder brother to the younger of their father's sketch-book had been made conditional.
In 1513 Giovanni's position as sole master (since the death of his brother and of Alvise Vivarini) in charge of the paintings in the Hall of the Great Council was threatened by one of his former pupils. Young Titian 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 paint The Feast of the Gods for the duke Alfonso I of Ferrara, but died in 1516.
Of Giovanni's activity in the interval between the altar-pieces of San Giobbe and San Zaccaria, there are a few minor works left, though the great mass of his output perished with the fire of the Doge'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 Isabella Gonzaga of Mantua had had great difficulty in obtaining delivery from him of a picture of the Madonna and Saints (now lost) for which part payment had been made in advance.
As is the case with a number of his brother, Gentile's public works of the period, many of Giovanni's great public works are now lost. The still more famous altar-piece painted in tempera for a chapel in the church of S. Giovanni e Paolo, where it perished along with Titian's Peter Martyr and Tintoretto's Crucifixion in the disastrous fire of 1867.
An interval of some years, no doubt chiefly occupied with work in the Hall of the Great Council, seems to separate the San Giobbe Altarpiece, and that of the church of San Zaccaria at Venice. Formally, the works are very similar, so a comparison between serves to illustrate the shift in Bellini's work over the last decade of the 15th century. Both pictures are of the Holy Conversation (sacred conversation between the Madonna and Saints) type. Both show the Madonna seated on a throne (thought to allude to the throne of Solomon), between classicizing columns. Both place the holy figures beneath a golden mosaicked half dome that recalls the Byzantine architecture in the basilica of St. Mark.