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Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. He was raised in the household of Jacopo Bellini, formerly thought to have been his father, but now that familial generational relationship is questioned. An older brother, Gentile Bellini was more highly regarded than Giovanni during his lifetime, but the reverse is true today. His brother-in-law was Andrea Mantegna.
Jacopo Bellini was one of the founders of the Renaissance style of painting in Venice and northern Italy. His sons Gentile and Giovanni Bellini, and his son-in-law Andrea Mantegna, were also famous painters.
Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicized as Anthony of Messina, was an Italian painter from Messina, active during the Italian Early Renaissance.
Renaissance art is the painting, sculpture, and decorative arts of the period of European history known as the Renaissance, which emerged as a distinct style in Italy in about AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and technology. Renaissance art took as its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific knowledge. Along with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval period to the Early Modern age.
Vittore Carpaccio (UK: /kɑːrˈpætʃ oʊ/, US: /-ˈpɑːtʃ-/, Italian: [vitˈtoːre karˈpattʃo]; was an Italian painter of the Venetian school who studied under Gentile Bellini. Carpaccio was largely influenced by the style of the early Italian Renaissance painter Antonello da Messina, as well as Early Netherlandish painting. Although often compared to his mentor Gentile Bellini, Vittore Carpaccio's command of perspective, precise attention to architectural detail, themes of death, and use of bold color differentiated him from other Italian Renaissance artists. Many of his works display the religious themes and cross-cultural elements of art at the time; his portrayal of St. Augustine in His Study from 1502, reflects the popularity of collecting "exotic" and highly desired objects from different cultures.
Antonio Vivarini was an Italian painter of the early Renaissance-late Gothic period, who worked mostly in the Republic of Venice. He is probably the earliest of a family of painters, which was descended from a family of glassworkers active in Murano. The painting dynasty included his younger brother Bartolomeo and Antonio's son Alvise Vivarini.
Vivarini is the surname of a family of painters from Murano (Venice), who produced a great quantity of work in Venice and its neighborhood in the 15th century, leading on to that phase of the school which is represented by Carpaccio and the Bellini family.
Saint Sebastian is a painting, once part of a triptych by the Italian Renaissance artist Antonello da Messina, completed in 1477–1479. It is housed in the Gemäldegalerie Alte Meister, Dresden, Germany.
Saint Jerome in His Study is a painting by the Italian Renaissance master Antonello da Messina. The painting depicts human, natural, and divine knowledge, and is filled with architectural qualities. It was the property of Antonio Pasqualino and afterwards of Thomas Baring, 1st Earl of Northbrook; since 1894 it has been in the collection of the National Gallery, London.
The Virgin Annunciate is a painting by the Italian Renaissance artist Antonello da Messina, housed in the Palazzo Abatellis, Palermo, region of Sicily, Italy. Probably painted in Sicily in 1476, it shows Mary interrupted at her reading by the Angel of the Annunciation. It is painted in oil on panel, a technique introduced to Italy by its artist, who had learned it from North European artists such as Petrus Christus - by thus abandoning tempera technique he was able to produce the finely-detailed works typical of him.
The decade of the 1470s in art involved some significant events.
The decade of the 1460s in art involved some significant events.
The decade of the 1430s in art involved some significant events.
Ecce Homo is the title of a series of paintings by the Italian Renaissance master Antonello da Messina. They date from 1470 to 1475.
Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini and his brother Gentile Bellini and their workshops, the major artists of the Venetian school included Giorgione, Titian, Tintoretto (1518–1594), Paolo Veronese (1528–1588) and Jacopo Bassano (1510–1592) and his sons. Considered to give primacy to colour over line, the tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting.
The San Cassiano Altarpiece is a painting by the Italian Renaissance master Antonello da Messina, dating to 1475–1476. Commissioned for the church of San Cassiano in Venice, it was disassembled in the early 17th-century and the reunited central portion is now housed in the Kunsthistorisches Museum in Vienna. It was one of the most influential paintings in the Veneto area of the time.
Virgin with the Standing Child, Embracing his Mother, also known as Willys Madonna is a painting by the Italian Renaissance master Giovanni Bellini. It is now in the São Paulo Museum of Art in São Paulo, Brazil.
Jacopo de Antonio; also called Jacobello Antonello, Jacobello da Messina, or Iacobello di Antonello, was an Italian painter from Messina, Sicily, active during the Renaissance. He was the son of Antonello Da Messina. Jacobello may be the same as Pino da Messina.
Calvary is an oil-on-wood painting executed in 1475 by the Italian Renaissance painter Antonello da Messina. Also known as the Antwerp Crucifixion, it is now in the Royal Museum of Fine Arts, Antwerp, making it the only work by the artist in Belgium.
The Sicilian Renaissance forms part of the wider currents of scholarly and artistic development known as the Italian Renaissance. Spreading from the movement's main centres in Florence, Rome and Naples, when Renaissance Classicism reached Sicily it fused with influences from local late medieval and International Gothic art and Flemish painting to form a distinctive hybrid. The 1460s is usually identified as the start of the development of this distinctive Renaissance on the island, marked by the presence of Antonello da Messina, Francesco Laurana and Domenico Gagini, all three of whom influenced each other, sometimes basing their studios in the same city at the same time.
References
- Francesco Abbate, History of Art in Southern Italy: The Sixteenth Century, 2001 ISBN 8879896539
- Charlene Vella, "Three recently restored Renaissance paintings by Antonio De Saliba in Malta", At Home in Art: Essays in Honour of Mario Buhagiar, Charlene Vella (ed.), 2016, pp. 47–65.
- Charlene Vella, "In the Footsteps of Antonello da Messina: The Antonelliani in Sicily and Venice in the Late Fifteenth and Early Sixteenth Centuries", PhD Dissertation, University of Warwick, 2015
- Charlene Vella, "A Renaissance painter’s Malta connection", Sunday Times of Malta, 21 April 2013.
- Charlene Vella, "Early Renaissance painting from Żejtun rediscovered", Sunday Times of Malta, 19 June 2011.
- ↑ L'Arte: rivista di storia dell'arte medioevale e moderna e d'arte, Volume 7, article by Enrico Brunelli (1904) page 271-285.
