画家雅各布·贝利尼（jacopo bellini）开拓了威尼斯文艺复兴绘画。虽然他遗留的作品极少，但从现存的一些素描上来看，雅各布·贝利尼是威尼斯画派中最先吸取文艺复兴新艺术语言和利用透视法强调空间处理的画家之一。
麦当娜和孩子
麦当娜和孩子的祝福(c.1455)94 x 66厘米
出生在威尼斯雅格布的学生真蒂莱达·法布里亚诺。在1411 - 1412他在Foligno与非犹太人,他在工作宫殿Trinci壁画。贝里尼在1423年弗洛伦斯,他知道的新作品布鲁内莱斯基监督完成,多纳泰罗,Masolino da Panicale和马萨乔。1424年,他开设了一个车间在威尼斯,他跑直到他的死亡。
他的许多伟大的作品,包括巨大的十字架大教堂的维罗纳(1436),已经消失。从c。1430年是面板与麦当娜和孩子,学院卡拉拉,一旦真蒂莱达·法布里亚诺。1441年,在费拉拉,他的服务Leonello·德在一起利昂·巴蒂斯塔阿尔贝蒂他执行的肖像,侯爵,现在输了。这一时期的麦当娜戴尔'Umilta,可能委托Leonello的兄弟之一。
的影响Masolino da Panicale向更现代,早文艺复兴时期的主题是可见的麦当娜的孩子(1448年)Pinacoteca di布雷拉:第一次,角度是现在和这个数字更重大。后来他贡献的威尼斯教堂现在失去工作圣乔凡尼•伊万格丽斯塔(1452)和圣马克(1466)。从1459年麦当娜与祝福的孩子Gallerie戴尔'Accademia.
后来他寄居在帕多瓦,在那里他训练有素的年轻安德里亚曼特尼亚在角度和古典学者主题和,1460年,他完成的画像Erasmo Gattamelata,现在失去了。他的后期阶段,毁了十字架的维罗纳博物馆和教堂的报喜桑特达的布雷西亚依然存在。
Born in Venice, Jacopo had been a pupil of Gentile da Fabriano. In 1411–1412 he was in Foligno, where with Gentile he worked at the Palazzo Trinci frescoes. In 1423 Bellini was in Florence, where he knew the new works byBrunelleschi, Donatello, Masolino da Panicale and Masaccio. In 1424 he opened a workshop in Venice, which he ran right up until his death.
Many of his greatest works, including the enormous Crucifixionin the cathedral of Verona (1436), have disappeared. From c. 1430 is the panel with Madonna and Child, in the Accademia Carrara, once attributed to Gentile da Fabriano. In 1441, atFerrara, where he was at the service of Leonello d'Este together with Leon Battista Alberti, he executed a portrait of that Marquess, now lost. Of this period the Madonna dell'Umiltà, probably commissioned by one of the brothers of Leonello.[1]
The influence from Masolino da Panicale towards more modern, early Renaissance themes is visible in the Madonna with Child (dated 1448) in the Pinacoteca di Brera: for the first time, perspective is present and the figure are more monumental. Later he contributed with works now lost to the Venetian churches of San Giovanni Evangelista (1452) and St. Mark (1466). From 1459 is a Madonna with Blessing Child in the Gallerie dell'Accademia.
Later he sojourned in Padua, where he trained a young Andrea Mantegna in perspective and classicist themes and where, in 1460, he finished a portrait of Erasmo Gattamelata, now lost. Of his late phase, a ruined Crucifix in the Museum of Verona and an Annunciation in the church of Sant'Alessandro of Brescia remain.
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