Lot 40
Atelier Giovanni Bellini
Italy, Venetian School, (15th/16th century)
Christ Carrying the Cross, c.1470-1516
Renaissance master painting oil on wood panel in a giltwood Italian architectural aedicular / tabernacle frame
Unsigned. Plaque inscribed, "From the Atelier of Giovanni Bellini". Paint is flaking and panels are separating.
Provenance: Donated to Hanover College by Mr. Jules S. Bache of New York City in 1940 as part of the William H. Donner match.
About the art collection of Jules Bache:
In addition to his high profile in the business world, Jules Bache would also become well known for his art collecting, which received much press attention in 1929 when he purchased the portrait of "Giuliano de Medici," then attributed to Raphael. He would acquire numerous other important works, including those by or attributed to Rembrandt, Titian (including The Bache Madonna), Albrecht Dürer, Diego Velázquez, Gerard David, Giovanni Bellini, and Sandro Botticelli, amongst others.
In 1937, he opened his magnificent art collection to the public. In 1943 the Second World War forced closure of his museum and the collection was loaned to the Metropolitan Museum of Art which had put its own masterworks into protective storage.[11] In 1943, he donated some of his works to the Detroit Institute of Arts.
Bache was a major donor to the Department of Decorative Arts at the Metropolitan Museum of Art.[12]
At the time of his death in 1944, most of his picture collection, up until that time gifted to the Jules Bache Foundation, was given to the Museum; the remaining works of art from his estate at 814 Fifth Avenue were sold at auction.[13]
Giovanni Bellini was born sometime between 1430 and 1438; the son of Jacopo Bellini. He was brought up in Venice with his brother, Gentile, in his father's workshop, but became interested in the Padua School. He became the companion of Mantegna there. After 1460 he began to form his own essentially Venetian style. Up until 1460 he worked with rigid and searching delicacy of line. After 1460, his style became increasingly more suave, calmer and more gracious. In 1490, atmospheric envelopment and rich harmonies of color. In a way, he discovered style of early sixteenth century Venice.
There are more of his works than his brother Gentile, or his father Jacopo. He painted great altarpieces in the church of St. Francisco in Pesaro and after that continued only with that type of work. He was surrounded by pupils and imitators, his greatest pupil being Giorgione.
In the course of his long career Bellini led Venetian painting from a provincial position into the full current of the high Renaissance. Instead of using light primarily to outline the shape of things, Bellini suggests their place in a surrounding of natural light and atmosphere, as the Flemish did. Bellini learned the Flemish oil technique of combining under-painting in the egg-tempera medium, applied in tiny separate strokes and of over-painting in the newer oil-mixed colors. Development of this method, with its smoother blending of stroke and greater translucence of pigment, transformed Venetian painting with a new glory of rich color.
He was still painting at the age of 80, when he created one of the first large Arcadian compositions, an amazing achievement for his age. He died in Venice in 1516.
Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California.
Sources include:
Metropolitan Miniatures; the National Gallery; Italian Renaissance Painting
From the internet, the Artchive
- Dimensions: 28"H x 22"W (sight), 41 1/2"H x 32"W (frame)
- Medium: Renaissance master painting oil on wood panel in a giltwood Italian architectural aedicular / tabernacle frame
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