Saturday, January 30, 2021

Quattrocento Tempera Painting in Venice

Antonio Vivarini
Virgin and Child
ca. 1435-45
tempera on panel
Museum of Fine Arts, Houston

Antonio Vivarini
Christ in the Sepulchre
ca. 1450
tempera on panel
Pinacoteca Nazionale di Bologna

Antonio Vivarini
St Peter Martyr reattaching a Severed Leg
ca. 1450-60
tempera on panel
Metropolitan Museum of Art, New York

Antonio and Bartolomeo Vivarini
Christ in the Sepulchre
(detail of Virgin and Child polyptych)
ca. 1450
tempera on panel
Pinacoteca Nazionale di Bologna

Bartolomeo Vivarini
Polyptych of the Nativity
1475
tempera on panel
Gallerie dell' Accademia, Venice

Bartolomeo Vivarini
Virgin and Child
ca. 1475
tempera on panel
National Gallery of Art, Washington DC

Bartolomeo Vivarini
Death of the Virgin
1485
tempera on panel
Metropolitan Museum of Art, New York

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

Jacopo Bellini
St John the Evangelist and St Peter
(altarpiece fragments)
ca. 1430-35
tempera on panel
Gemäldegalerie, Berlin

Jacopo Bellini
Virgin and Child
ca. 1444
tempera on panel
Accademia Carrara, Bergamo

Jacopo Bellini
The Crucifixion
ca. 1450
tempera on panel
Museo Correr, Venice

Giovanni Bellini
Blood of the Redeemer
ca. 1460-65
tempera on panel
National Gallery, London

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

Vittore Carpaccio
Meditation on the Passion
ca. 1490
tempera on panel
Metropolitan Museum of Art, New York

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