乔凡尼·贝利尼，（Giovanni Bellini， 1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。
圣杰罗姆在沙漠中,c。1455;蛋彩画面板;理发师研究所、伯明翰[2]
乔凡尼贝里尼出生在威尼斯。他是他父亲的房子里长大,并一生活和工作在最亲密的兄弟与他的兄弟外邦人。直到将近三十岁在他的作品中我们发现宗教的深度感觉自己和人类的悲悯情怀。他的作品从早期都是在旧的执行蛋彩画方法;现场软化是一个新的和美丽浪漫的日出的影响(例如,颜色圣杰罗姆在沙漠里).
有些改变,更多的个人的方式,用更少的轮廓和更广泛的治疗形式和装饰织物,但宗教的感觉,而不是更少的力量就是基督死者照片,这些天大师最频繁的主题(一个例子是死基督麦当娜和圣约翰的支持或圣母怜子图)。乔凡尼的早期作品往往与构图和风格的妹夫,曼坦那安德里亚。
1470年乔凡尼收到了他的第一个约会工作以及他的兄弟和其他艺术家di圣马可师范学校其他科目中,他委托与诺亚方舟油漆泛滥。没有一个硕士的这类作品,画是否为各种学校或兄弟会或公爵的宫殿,都活了下来。
基督的祝福,1500;蛋彩画、石油和黄金面板;沃斯堡金贝尔美术馆共同艺术博物馆德克萨斯州。
1470年十年后可能必须分配变形现在在Capodimonte博物馆那不勒斯,重复大大成熟的权力和在更宁静的精神他早期的努力在威尼斯的主题。
同样的伟大altar-piece处女的加冕典礼佩扎罗,这似乎是他的努力的一种艺术形式最早以前几乎垄断在威尼斯的对手学校Vivarini.
与他的兄弟一样,外邦人的公共工程期间,乔凡尼的许多伟大的公共工程现在迷路了。更著名的altar-piece画在一座教堂的蛋彩画美国教会乔凡尼保罗,随着提香的彼得殉教者和灭亡丁托列托在1867年的灾难性的火灾的受难。
麦当娜和孩子,c。1480;原油;印第安纳波利斯艺术博物馆
在1479 - 1480年乔凡尼的大部分时间和精力也必须一直被作为管理员的职责的绘画在人民大会堂总督宫。该委员会的重要性可以测量的乔凡尼收到付款:他被授予,首先降级的代理的地方Fondaco一些泰德斯之后,作为替代,一个固定年薪八十金币。除了修复和更新他的前任,他委托的作品描绘了一幅新的主题,六、七,进一步说明的部分由威尼斯的战争德皇腓特烈一世和教皇。这些作品,执行中断和延迟,普遍崇拜的对象,而他们了,但没有一丝他们1577年的大火中幸存下来,也没有任何其他的例子,他的历史和游行的成分下降,使我们能够比较他的态度在这种主题与他的兄弟外邦人。
其他的宗教类的工作,包括祭坛画有许多人物和简单的麦当娜,幸运的是相当数量一直保存了下来。他们让他逐渐抛弃了过去的限制的十五世纪方式,逐渐获得一个完整的掌握石油中介绍了威尼斯Antonello da墨西拿约1473,掌握其帮助所有或几乎所有的秘密的完美融合颜色和大气层次的音调。可怜的老强度和虔诚的感觉逐渐消失,给一个高贵的地方,如果更多的世俗,宁静和魅力。为处女和儿童(如左图)成为宁静和指挥甜蜜;服务员圣徒的人士获得权力,存在和个性;妩媚的唱歌和viol-playing天使象征着和谐和完整的场景。威尼斯颜色的全部光彩投资一样的人物,他们的体系结构框架,景观和天空。
麦当娜和孩子与施洗约翰和圣伊丽莎白
几年的时间间隔,毫无疑问,主要是忙于工作大厅的委员会,似乎分离圣Giobbe祭坛的装饰品,教会的圣扎在威尼斯。正式,作品非常相似,所以比较形象地说明了贝里尼的转变的工作在过去的十年里的15世纪。两个的照片神圣的谈话(神圣的对话麦当娜和圣徒)类型。都显示了麦当娜坐在宝座上(暗指的宝座所罗门之间),崇尚古典风格列。这两个地方黄金下神圣的数字张拼接半圆顶,回忆说拜占庭建筑教堂的圣马克.
圣扎装饰画油画,1505;从面板;圣扎、威尼斯
在以后的工作中贝里尼描绘了维珍包围(左起):圣彼德拿着他的钥匙和智慧的书,处女St.Catherine和St.Lucy最接近原始各拿一个殉教者的手掌和她实施酷刑(凯瑟琳打破轮与她的眼睛,露西菜);St.Jerome书,象征着他的工作公认的.
在文体上,圣扎的照明块变得如此柔软和扩散,在圣Giobbe出现几乎斜形成鲜明对比。乔凡尼的油介质的使用已经成熟,和神圣的人物似乎仍然裹着一个,稀薄的空气。圣扎是最美丽和壮观的乔凡尼的圣坛雕刻,可追溯到1505年,一年之后乔尔乔内的麦当娜的Castelfranco.
其他晚与教会的圣徒包括祭坛的装饰品圣弗朗西斯科·德拉豇豆属在威尼斯,1507;拉电晕维琴察基督的洗礼,景观,1510;和圣乔凡尼佩罗在1513年的威尼斯。
乔凡尼的活动之间的时间间隔的祭坛画圣Giobbe和圣扎,有一些小工作离开,尽管他的伟大的质量输出死亡的火灾总督宫在1577年。过去十或十二年的硕士生活看见他被围困的佣金比他可能完成。已经在1501年- 1501年侯爵夫人伊莎贝拉贡扎加的曼图亚有很大的困难在获得交付他的圣母和圣徒的照片(现在丢失),提前支付了一部分。
神的盛宴c。1514年完成他的弟子,提香,1529;油画;国家美术馆的艺术,华盛顿[3]
1505年,她曾努力通过红衣主教Bembo从他获得另一张照片,这次世俗或神话人物。这篇文章的主题是什么,或是否实际交付,我们不知道。
Albrecht Durer,参观威尼斯在1506年第二次,仍然形容Giovanni贝里尼是最好的画家,礼貌和慷慨的对外国刷的弟兄。
1507年贝里尼的弟弟外邦人死了,乔凡尼完成了St.Mark的说教,他的照片已经离开未完成的,在完成一个任务的遗产的哥哥年轻父亲的写生簿是有条件的。
1513年乔凡尼作为唯一的主人的地位(因为他哥哥的死和Alvise Vivarini)负责绘画在大厅里的大议会威胁了他以前的学生之一。年轻的提香想要共享相同的事业,以同样的条件支付。提香的申请被授予,然后经过一年取消,然后再经过一两年授予;和老年人的主人必须毫无疑问已经经历了一些烦恼从他有时学生的程序。1514年乔凡尼进行了油漆神的盛宴公爵阿方索费拉拉的我,但于1516年去世。
他被埋葬圣乔凡尼教堂e保罗传统的埋葬的地方总督。
圣弗朗西斯的狂喜,1480;石油和蛋彩画面板;弗里克收藏,纽约。
在艺术和在世俗的意义上,贝里尼的职业,总的来说,非常繁荣。他漫长的职业生涯开始十五世纪风格但成熟进步post-Giorgione文艺复兴时期的风格。他能活着看到自己的学校远比他的竞争对手,慕拉诺岛的Vivarini;他体现,成长和成熟的力量,所有的虔诚的世俗的壮丽的重力也多的威尼斯,他看到他的影响力传播的许多学生,至少两人,乔尔乔内,提香,等于甚至超过了他们的主人。乔尔乔内他比五年;提香,正如我们所见,挑战他,声称一个平等的地方旁边他的老师。贝里尼工作室的其他学生Girolamo Galizzi da Santacroce,Vittore Belliniano,罗科马可尼,安德里亚Previtali[4]并有可能贝纳迪诺Licinio.
在历史的角度来看,贝里尼是意大利文艺复兴时期的发展的关键为他的公司来自北欧的美学。显著的影响Antonello da墨西拿曾在佛兰德斯,贝里尼普遍使用油画,不同于当时所使用的蛋彩画,大多数意大利文艺复兴时期的画家,和使用伪装的象征意义的一部分北方文艺复兴时期。作为演示等工作圣弗朗西斯的狂喜(c.1480)和圣Giobbe祭坛的装饰品(c.1478),贝里尼利用宗教象征意义通过自然元素,比如种植葡萄和岩石。然而他艺术最重要的贡献在于他的实验使用油画的色彩和气氛。
的贝里尼(鸡尾酒)就是以他的名字命名的。
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 theCapodimonte Museum of Naples, repeating with greatly ripened powers and in a much serener spirit the subject of his early effort at Venice.
Also the great altar-piece of the Coronation of the Virgin at Pesaro, which would seem to be his earliest effort in a form of art previously almost monopolized in Venice by the rival school of the Vivarini.
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.
After 1479–1480 much of Giovanni's time and energy must also have been taken up by his duties as conservator of the paintings in the great hall of the Doge's Palace. The importance of this commission can be measured by the payment Giovanni received: he was awarded, first the reversion of a broker's place in the Fondaco dei Tedeschi, and afterwards, as a substitute, a fixed annual pension of eighty ducats. Besides repairing and renewing the works of his predecessors he was commissioned to paint a number of new subjects, six or seven in all, in further illustration of the part played by Venice in the wars of Frederick Barbarossa and the pope. These works, executed with much interruption and delay, were the object of universal admiration while they lasted, but not a trace of them survived the fire of 1577; neither have any other examples of his historical and processional compositions come down, enabling us to compare his manner in such subjects with that of his brother Gentile.
Of the other, the religious class of his work, including both altar-pieces with many figures and simple Madonnas, a considerable number have fortunately been preserved. They show him gradually throwing off the last restraints of the Quattrocento manner; gradually acquiring a complete mastery of the new oil medium introduced in Venice by Antonello da Messina about 1473, and mastering with its help all, or nearly all, the secrets of the perfect fusion of colors and atmospheric gradation of tones. The old intensity of pathetic and devout feeling gradually fades away and gives place to a noble, if more worldly, serenity and charm. The enthronedVirgin and Child (such as the one at left) become tranquil and commanding in their sweetness; the personages of the attendant saints gain in power, presence and individuality; enchanting groups of singing and viol-playing angels symbolize and complete the harmony of the scene. The full splendour of Venetian color invests alike the figures, their architectural framework, the landscape and the sky.
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 theMadonna 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.
In the later work Bellini depicts the Virgin surrounded by (from left): St. Peter holding his keys and the Book of Wisdom; the virginal St. Catherine and St. Lucy closest to the Virgin, each holding a martyr's palm and her implement of torture (Catherine a breaking wheel, and Lucy a dish with her eyes); St. Jerome, with a book symbolizing his work on the Vulgate.
Stylistically, the lighting in the San Zaccaria piece has become so soft and diffuse that it makes that in the San Giobbe appear almost raking in contrast. Giovanni's use of the oil medium had matured, and the holy figures seem to be swathed in a still, rarefied air. The San Zaccaria is considered perhaps the most beautiful and imposing of all Giovanni's altarpieces, and is dated 1505, the year following that of Giorgione'sMadonna of Castelfranco.
Other late altarpiece with saints include that of the church of San Francesco della Vigna at Venice, 1507; that of La Corona at Vicenza, a Baptism of Christ in a landscape, 1510; and that of San Giovanni Crisostomo at Venice of 1513.
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.
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 thePreaching 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 ofAlvise 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.
He was interred in the Basilica di San Giovanni e Paolo, a traditional burial place of the doges.
Both in the artistic and in the worldly sense, the career of Bellini was, on the whole, very prosperous. His long career began with Quattrocento styles but matured into the progressive post-Giorgione Renaissance styles. He lived to see his own school far outshine that of his rivals, the Vivarini of Murano; he embodied, with growing and maturing power, all the devotional gravity and much also of the worldly splendour of the Venice of his time; and he saw his influence propagated by a host of pupils, two of whom at least, Giorgione and Titian, equalled or even surpassed their master. Giorgione he outlived by five years; Titian, as we have seen, challenged him, claiming an equal place beside his teacher. Other pupils of the Bellini studio included Girolamo Galizzi da Santacroce, Vittore Belliniano, Rocco Marconi, Andrea Previtali[4] and possiblyBernardino Licinio.
In the historical perspective, Bellini was essential to the development of the Italian Renaissance for his incorporation of aesthetics from Northern Europe. Significantly influenced by Antonello da Messina, who had spent time in Flanders, Bellini made prevalent both the use of oil painting, different from the tempera painting being used at the time by most Italian Renaissance painters, and the use of disguised symbolism integral to the Northern Renaissance. As demonstrated in such works as St. Francis in Ecstasy (c. 1480) and theSan Giobbe Altarpiece (c. 1478), Bellini makes use of religious symbolism through natural elements, such as grapevines and rocks. Yet his most important contribution to art lies in his experimentation with the use of color and atmosphere in oil painting.
The Bellini (cocktail) is named in his honor.
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