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This volume depicts the life of the artist whose name is synonymous with Venetian Renaissance painting. His paintings are presented in full-colour photography to complement the text which contains 25 short essays on paintings of major importance. ... Read more

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Customer Reviews (1)

well written and up to date, but the colours ...
Many of Giovanni Bellinis' paintings have been restored recently and high quality images have been made in occasion of various exhibitions (f.e. "Il colore ritrovato", Venice 2000).
Unfortunately the author ignores these efforts and/or shows too little interest in modern colour management.
This is a shame, because the "lyrics" are really well done. ... Read more

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Giovanni Bellini is considered one of the most important figures in Italian Renaissance art. This text considers the artist's work both stylistically and in full cultural and historical context. ... Read more

Customer Reviews (1)

Timeless art.
This is a quite a good book on the art of Giovanni Bellini;it has many colored images and the text is acceptable but somehow not very captivating. As many art books, it has some idiosyncrasies - for example, it discusses in detail the Feast of the Gods picture without the image; and as a rule, all images in the book do not show the year of the picture;one must look at the end in the Indexes where pictures are grouped by location before the alphabetical name.This makes it much more difficult to trace the development of this artist.


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This Companion brings together commissioned essays focusing on important topics and themes of the career of Giovanni Bellini, the dominant painter of Early Renaissance Venice. The contributions consider Bellini's position in the social and professional life of early modern Venice, and reassess his artistic relationships with his brother-in-law Mantegna, Flemish painting, and the "modern style" that emerged in Italy around 1500. They also explore his original approaches to sculpture and architecture, and landscape and color. ... Read more

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Serious Consideration of Bellini
This organized and well illustrated volume edited by Peter Humfrey is a scholarly comprehensive study of Giovanni Bellini's intriguing and sometimes problematic Italian masterworks of art. Today recognized as one of the greatest Renaissance artists to come from Italy, Giovanni Bellini was in his day one of the dominant painters of the Early Renaissance.

This collective publication includes serious consideration of Bellini's social and professional life which establishes him in early modern Venice. There is an interesting (and sure to be groundbreaking) reassessment of his artistic relationship with his brother-in-law Mantegna, as well as his relationship to Flemish painting.

A fascinating examination is also presented of his relationship with the new style of art that emerged in Italy around 1500. What sets this volume apart from previous scholarly studies of Bellini's work is the coming together of these unique and interesting social and professional factors.

Bellini's approach to sculpture and architecture is studied in-depth, and detailed, and the study of Bellini's breathtaking use of color and landscape, traditionally elements recognized as central to his renowned pictorial genius, (and central to his constantly evolving pictorial technique,) is nothing short of brilliant.

Including an impressive 384 pages and 114 half-tones this complete examination of Bellini concludes with chapters focusing directly on his not often examined drawings and collaborators. There have been many studies of Bellini over the years but in this highly enlightening publication important commissioned essays finally come together to focus on significant topics and themes central (and pivotal) to Bellini's career. This is the art volume of the season. A superb compliment to a fine art library collection which is sure to be a sought after collectable work in the very near future. Highly recommended.
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GIOVANNI BELLINI

Giovanni Bellini (c . 1430-1516) is the author of some of the most exquisite of Renaissance paintings. He is, in a sense, the painter’s painter, who had a long career, like his pupil, Titian, in painting. He influenced many artists, among them Titian, Giorgione, Vecchio, Sebastiano del Piombo, and Albrecht Durer. His influences include Andreas Mantegna, his father, Jacopo Bellini, Antonello, and Donatello.

Bellini does everything in his paintings that Renaissance painters are supposed to do: he painted beautiful pictures, devotional images, of the Madonna, Christ and various saints; he painted mythological scenes, and scenes from history; he refined and defined Early Renaissance space, bringing it into the High Renaissance; he inaugurated a new feeling for landscape; he remained true to the sacred and emotional aspects of painting to the end of his career; he developed the various formats of Renaissance painting - the small, private devotional pictures, the large, public altarpieces, a host of secular portraits and large-scale friezes.

One might see Bellini as supremely a high Renaissance artist, especially in his later altarpieces, where his sense of space seems in tune with Titian or Raphael. Bellini’s style is very sweet. His paintings are full of a love for painting, and a love for his subjects. The ambiguities in his works do not arise from his intentions, which are, as with so many Renaissance painters, to be as exalting as possible. So his Madonnas and saints are lovingly painted.

There is an undeniable sensuality in Giovanni Bellini’s art. Central to his art is his sensuality. It is the same with the art of Leonardo, Caravaggio, Titian, Vermeer, Rembrandt, and Rubens. The sensuality of the paintings themselves, as objects, is crucial to their evaluation aesthetically. Bellini is a sensual painter - not simply in his treatment of eroticism, or in the eroticism of his forms, but also because he painted self-consciously erotic subjects. He painted female nudes: the Woman with a Mirror (in Vienna), in The Feast of the Gods (in Washington) and in the restollo of Truth (in Venice).

Giovanni Bellini’s sacred art is as erotic as his secular art, as with many a painter. Indeed, one might say that some of Bellini’s Christian paintings are more erotic than his paintings of mythological or historical subjects. His Pietas, for instance, with that lovingly described dead, nude Christ, may be seen as more erotic than the Classical scenes. The eroticism of art depends a lot on the viewer’s response. And on painterly surface and technique.

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This is an OCR edition without illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from the publisher's website (GeneralBooksClub.com). You can also preview excerpts of the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Original Published by: At the Sign of the Unicorn in 1901 in 120 pages; Subjects: Art / General; Art / History / General; Art / European; Art / History / Renaissance; Art / Individual Artist; Art / Subjects ... Read more

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Giovanni Bellini was the leading artist of the early Renaissance in Venice and the master of what was probably the largest workshop of any painter in Italy. Many of the works that are today associated with Bellini are half-length images of the Virgin and Child, a type of painting that became the mainstay of his workshop’s production, where they were created and replicated in great numbers to meet the needs of private devotion. The local market was large and its demands were varied in terms of both style and quality, and the Bellini workshop accommodated these demands through standardized methods of production.

The essays included in this book examine the practice of workshop replication both to understand the specific working methods of Bellini’s shop and to situate artistic practice within the broader context of the demand for particular kinds of images. ... Read more