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| Antonio Vivarini Virgin and Child ca. 1435-45 tempera on panel Museum of Fine Arts, Houston |
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| Antonio Vivarini Christ in the Sepulchre ca. 1450 tempera on panel Pinacoteca Nazionale di Bologna |
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| Antonio Vivarini St Peter Martyr reattaching a Severed Leg ca. 1450-60 tempera on panel Metropolitan Museum of Art, New York |
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| Antonio and Bartolomeo Vivarini Christ in the Sepulchre (detail of Virgin and Child polyptych) ca. 1450 tempera on panel Pinacoteca Nazionale di Bologna |
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| Bartolomeo Vivarini Polyptych of the Nativity 1475 tempera on panel Gallerie dell' Accademia, Venice |
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| Bartolomeo Vivarini Virgin and Child ca. 1475 tempera on panel National Gallery of Art, Washington DC |
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| Bartolomeo Vivarini Death of the Virgin 1485 tempera on panel Metropolitan Museum of Art, New York |
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| Bartolomeo Vivarini Death of the Virgin (detail) 1485 tempera on panel Metropolitan Museum of Art, New York |
"Bartolomeo Vivarini, born in Murano, was about a decade younger than his brother, Antonio Vivarini. He evidently trained with his brother, and when Antonio's brother-in-law and partner, Giovanni d'Alemagna, died in 1450, Bartolomeo took his place in the studio. The two painters signed works jointly over the next decade. After the early 1460s they do not seem to have collaborated artistically, but they continued to maintain a commercial relationship as a family firm."
"By the mid 1460s Bartolomeo was executing paintings similar to those of his contemporaries Carlo Crivelli, Marco Zoppo, and Giorgio Schiavone. Like theirs, his works were extremely linear, with hard surfaces, sculpturesque forms, and decorative schemes incorporating putti, swags of fruit and vegetation, and classical architectural elements. . . . He maintained a large and productive studio and received many important commissions in Venice and the provinces. But since Bartolomeo never developed artistically beyond this point, his works gradually lapsed into routine and formula, and his popularity waned."
– from biographical notes at the National Gallery of Art, Washington DC
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| Jacopo Bellini St John the Evangelist and St Peter (altarpiece fragments) ca. 1430-35 tempera on panel Gemäldegalerie, Berlin |
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| Jacopo Bellini Virgin and Child ca. 1444 tempera on panel Accademia Carrara, Bergamo |
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| Jacopo Bellini The Crucifixion ca. 1450 tempera on panel Museo Correr, Venice |
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| Giovanni Bellini Blood of the Redeemer ca. 1460-65 tempera on panel National Gallery, London |
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| Gentile Bellini Portrait of Doge Giovanni Mocenigo ca. 1480-85 tempera on panel Frick Collection, New York |
"Gentile Bellini became the official painter to the Venetian Republic, having collaborated with his father, Jacopo, until his death in 1471. In 1474 Gentile was commissioned to redecorate the Sala del Maggior Consiglio in the Doge's Palace. In September 1479, Sultan Mehmed of the Turks requested, through a special envoy, the services of a sculptor, a bronze founder, and some painters, and the Senate ordered Gentile to go to Constantinople, abandoning his work on the Council Chamber. His place was taken by his younger brother Giovanni. . . . Gentile returned to Venice by the end of November 1480, rejoining the team in the Doges' Palace and continuing his practice as a portrait painter."
– from biographical notes at the National Gallery of Art, Washington DC
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| Vittore Carpaccio Meditation on the Passion ca. 1490 tempera on panel Metropolitan Museum of Art, New York |
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| Vittore Carpaccio Life of St Ursula Cycle Pilgrims met by Pope Cyriac before the Walls of Rome ca. 1492-93 tempera on canvas Gallerie dell' Accademia, Venice |
"Carpaccio is an Italianized form of Scarpanza, the name of the Venetian merchant family into which the artist was born. Nothing definite is known about Carpaccio's training and early career, although it is likely that he apprenticed in the Bellini studio, where he probably worked with both Gentile and Giovanni Bellini. . . . With their narrative directness, spatial clarity, multiplicity of figures, and decorative richness, Carpaccio's narrative pictures stand directly in the tradition of Venetian history painting that is exemplified by comparable works of Gentile Bellini. Yet a strikingly distinctive personality emerges as well, in their lively anecdote, vivid humanity, and fantastic architectural and landscape settings."
– from biographical notes at the National Gallery of Art, Washington DC