Italian High Renaissance Painter, ca.1430-1516 (b ?1431-6; d Venice, 29 Nov 1516). Painter and draughtsman, son of (1) Jacopo Bellini. Although the professional needs of his family background may have encouraged him to specialize at an early date in devotional painting, by the 1480s he had become a leading master in all types of painting practised in 15th-century Venice. Later, towards the end of his long life, he added the new genres of mythological painting and secular allegory to his repertory of subject-matter. His increasing dominance of Venetian art led to an enormous expansion of his workshop after c. 1490; and this provided the training-ground not only for his numerous shop-hands and imitators (generically known as Belliniani) but probably also for a number of major Venetian painters of the next generation. Throughout his career, Giovanni showed an extraordinary capacity for absorbing a wide range of artistic influences, both from within Venetian tradition and from outside. He also oversaw a technical revolution in the art of painting, involving the gradual abandonment of the traditional Italian use of egg tempera in favour of the technique of oil painting pioneered in the Netherlands. It was thanks to Giovanni Bellini that the Venetian school of painting was transformed during the later 15th century from one mainly of local significance to one with an international reputation. He thus set the stage for the triumphs of Venetian painting in the 16th century and for the central contribution that Venice was to make to the history of European art.  Related Paintings of Giovanni Bellini :. | The Feast of the Gods | Pieta | Pesaro Altarpiece | Portrait of a Man (mk05) | The Presentation of Jesus in the Temple |
Related Artists:
Wouter Johannes van Troostwijk
1782-1810 Dutch Wouter Johannes van Troostwijk Gallery Dutch painter, draughtsman and etcher. In 1803 he was admitted to the Amsterdam Tekenacademie where he was a pupil of the director, Jurriaan Andriessen. Despite a highly successful student career that culminated in a gold medal from the Felix Meritis Society in 1807, he was unable to establish himself as a professional artist during the remainder of his very short working life in Amsterdam. Andriessen's studies from nature seem to have been an important influence; van Troostwijk was one of the earliest artists to paint en plein air. Although he looked back to 17th-century Dutch landscape art and to the work of his contemporaries, in such paintings as Landscape in Gelderland (c. 1808; Amsterdam, Rijksmus.; see NETHERLANDS, THE, fig. 21) he achieved a totally new lyricism in the rendering of atmospheric effects. The Raampoortje (1809; Amsterdam, Rijksmus.) displays a fresh colouristic touch rare in Dutch painting of this period. His Self-portrait (c. 1810; Amsterdam, Rijksmus.) is equally original in composition and colour. He also produced animal paintings in the manner of Paulus Potter, drawings and a few etchings towards the end of his life. Van Troostwijk died before his considerable talents could be recognized, and, although he has come to be seen as an important precursor of much late 19th-century Dutch painting, he had little influence on his immediate successors.
Nikolaj Nikolajewitsch Ge
painted Conscience, Judas in 1891
Ehilu Vedder
1836-1923 Ehilu Vedder Gallery