DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0113
BELLINI.
91
of the Counts Tadini. The other, No. 443, Acad, of Venice, repre-
sents the same subject. These are injured by scaling and blackened
by time. Of his wall pictures, it is believed that some remain at
Venice, but those of Verona are better known. That of the “ Cru-
cifixion,” in the Arch-episcopal Pal., fully illustrates the style of this
master. A copy of another “ Crucifixion,” in the Cath. of Verona,
is in the Casa Albrizzi at Venice. The arrangement is little changed
from that in his sketch-book, and these works served as models
to the artists who followed him, especially Antonello of Messina,
Carpaccio, and Mantegna. Of his other works, there is a small
'4 Christ in Limbus,” in the Communal Gall, of Padua, much in-
jured ; at S. Zaccaria, Venice, some frescoes in the dome of the
Chapel of S. Terasio, much abraded and blackened ; and a picture
of a “ Dominican Friar, preaching in a Square,” in the Oxford Mus.
This last was probably the work of some one in his atelier, and is
a panel on gold ground. It is known that Jacopo dwelt for a time
in Padua, and there had a work-shop in which his sons assisted him;
that his daughter Nicolosia married Andrea Mantegna, and that he
painted pictures and frescoes in that city, one of which was done in
1459. It is believed that he induced Mantegna to study Donatello
and Uccelli, and thus greatly influenced the style of the gifted
Paduan, and that he himself was affected by contact with that of
Donatello. Jacopo also painted portraits, one of which Ridolfi noticed
especially, that of the King of Cyprus, who was beheaded at Venice.
Although Jacopo was greatly surpassed by his sons, he was a re-
markable man for his time, and deserves to be remembered for pre-
paring the way, and making it easier to those who followed.
Bellini, Gentile, eldest son of the preceding, born at Venice
(1421 ?-1507). After laboring with his brother Giovanni in the
atelier of their father, at his death they declared their perfect inde-
pendence of each other, but continued to labor together, and shared
the respect of their countrymen and the laurels which they won.
The study of Jacopo and of his master, Fabriano, was of great value
to them, but they progressed far beyond both, and, together, laid the
foundation for the perfect style of Titian and his followers. Giovanni
was the most excellent, and Gentile was called “ clumsy ” by later
Venetians. But he did a noble work in teaching them the value of a
thoughtful imitation of nature. In 1464 Gentile painted the doors of
the great organ of S. Marco. He represented four gigantic saints.
These are now in a Gall, leading from S. Mark’s to the Ducal Pal.
Gentile was often employed as a portrait painter. Of his works of
this kind I shall only mention No. 136, Gall, of the Capitol, Rome;
one in the University Gall., Oxford, of two boys in profile; Correr Mus.,
Venice, No. 14, and one of Lorenzo Giustiniani, now in the lumber
room of the Acad, of Venice. In 1474 he was appointed to restore
the old, and paint new pictures in the great council-chamber of
91
of the Counts Tadini. The other, No. 443, Acad, of Venice, repre-
sents the same subject. These are injured by scaling and blackened
by time. Of his wall pictures, it is believed that some remain at
Venice, but those of Verona are better known. That of the “ Cru-
cifixion,” in the Arch-episcopal Pal., fully illustrates the style of this
master. A copy of another “ Crucifixion,” in the Cath. of Verona,
is in the Casa Albrizzi at Venice. The arrangement is little changed
from that in his sketch-book, and these works served as models
to the artists who followed him, especially Antonello of Messina,
Carpaccio, and Mantegna. Of his other works, there is a small
'4 Christ in Limbus,” in the Communal Gall, of Padua, much in-
jured ; at S. Zaccaria, Venice, some frescoes in the dome of the
Chapel of S. Terasio, much abraded and blackened ; and a picture
of a “ Dominican Friar, preaching in a Square,” in the Oxford Mus.
This last was probably the work of some one in his atelier, and is
a panel on gold ground. It is known that Jacopo dwelt for a time
in Padua, and there had a work-shop in which his sons assisted him;
that his daughter Nicolosia married Andrea Mantegna, and that he
painted pictures and frescoes in that city, one of which was done in
1459. It is believed that he induced Mantegna to study Donatello
and Uccelli, and thus greatly influenced the style of the gifted
Paduan, and that he himself was affected by contact with that of
Donatello. Jacopo also painted portraits, one of which Ridolfi noticed
especially, that of the King of Cyprus, who was beheaded at Venice.
Although Jacopo was greatly surpassed by his sons, he was a re-
markable man for his time, and deserves to be remembered for pre-
paring the way, and making it easier to those who followed.
Bellini, Gentile, eldest son of the preceding, born at Venice
(1421 ?-1507). After laboring with his brother Giovanni in the
atelier of their father, at his death they declared their perfect inde-
pendence of each other, but continued to labor together, and shared
the respect of their countrymen and the laurels which they won.
The study of Jacopo and of his master, Fabriano, was of great value
to them, but they progressed far beyond both, and, together, laid the
foundation for the perfect style of Titian and his followers. Giovanni
was the most excellent, and Gentile was called “ clumsy ” by later
Venetians. But he did a noble work in teaching them the value of a
thoughtful imitation of nature. In 1464 Gentile painted the doors of
the great organ of S. Marco. He represented four gigantic saints.
These are now in a Gall, leading from S. Mark’s to the Ducal Pal.
Gentile was often employed as a portrait painter. Of his works of
this kind I shall only mention No. 136, Gall, of the Capitol, Rome;
one in the University Gall., Oxford, of two boys in profile; Correr Mus.,
Venice, No. 14, and one of Lorenzo Giustiniani, now in the lumber
room of the Acad, of Venice. In 1474 he was appointed to restore
the old, and paint new pictures in the great council-chamber of