Bellini, being a master at this, could achieve a calm realism supporting the scenes he painted. Mantegna admired Bellini’s use of light and landscape greatly. This dialogue also went the other way around. What a show of utter admiration this is! The Presentation of Christ in the Tempel, about 1470-75, egg tempera on panel, G. It is thought that Bellini painted this upon the death of his father Jacopo Bellini. The painting differs in several ways though: in its colours, in the painted frame now being a parapet, and in the addition of two extra figures… possibly family members. In 1470/75 Bellini used this painting for his rendition by tracing the figures’ outlines in exactly the same manner. On the far right is a self-portrait and on the far left a portrait of his wife Nicolosia. In this painting, the Virgin Mary together with Joseph present the baby Jesus to the wise Simeon who, upon taking the child in his hands, recognises the Messiah. Mantegna painted his painting around 1454, probably to celebrate the birth of his first child. The Presentation of Christ in the Temple, about 1454, egg tempera on canvas, A. It is, in any case, a wonderful show of trust and a subtle dialogue between both painters.Īnother example of this is seen in “The presentation of Christ in the Temple”. He nevertheless allowed Bellini to use his drawing, seeing this as a sign of honour and of admiration for his work. Mantegna was known to be careful with his copyright.

The Descent of Christ into Limbo, 1475-80, oil on parchment on panel, G. Both painters were in close contact and exchange, Bellini looking up to Mantegna as his “older” brother, even after Mantegna’s move to Mantua in 1460. Yet even though he does so, he uses the drawing with the utmost respect and, by use of his own light and painting skills, makes it into his own. Over one of these drawings, Bellini painted his own version. He made numerous drawings of this theme, resulting in an engraving and in paintings. The Descent of Christ into Limbo, about 1490, drawing, A. It is not mentioned in the Gospel but was a well-known subject in the 15th century which fascinated Mantegna. This deals with the moment when Christ descends into the realm of death between his burial and his Resurrection. Just on the opposite side from Saint Jerome, we find a section with drawings, prints and paintings dealing with the subject of the “descent into Limbo”. Using the other’s drawing The Descent of Christ into Limbo, about 1480-85, engraving, A. Mantegna’s portrayal was a few years earlier than Bellini’s, yet already in both, we see their own personality coming through. The detailed composition is more prominent in the first, and in the other the landscape strikes the onlooker most. In Saint Jerome, one already notices two different approaches. This makes it even more obvious to see in which manner they approached the same subject and how they influenced each other too. In actual fact, this exhibition is beautifully segmented in subject categories, most of which were very popular in the Renaissance Period: the Virgin with child, the portraits, the Agony in the Garden, the landscapes, the dead Christ, ancient civilisation, and so on. The earliest paintings these painters left us have coincidently the same subject, Saint Jerome. Mantegna Saint Jerome in the Wilderness, about 1453-55, egg tempera on panel, G. Saint Jerome Penitent in the Desert, 1448-51, egg tempera on panel, A. In those days the Bellini family had a very high rank in the Venetian society, and so he grew up with little worries, following his father’s path. He was the son of the famous painter Jacopo Bellini. Giovanni Bellini, on the other hand, came from Venice. He was accepted in the painting school of Francesco Scquarcione, his talent having been discovered early. The son of a carpenter, he became an orphan at the age of ten. They became in-laws in 1453 when Mantegna married Bellini’s sister Nicolosia. I will instead speak of this recently opened beautiful show with the following questions in mind: how is it that such masters can learn from each other, respect each other and stand equally strong next to each other? And how by doing so can they gain a level of excellence not achievable without the other? Presenting Mantegna and BelliniĪndrea Mantegna (1431-1506) and Giovanni Bellini (around 1435-1516) were two major painters of the Renaissance period. I will not try to compare both exhibitions here, although it could be an interesting post. What better way is there than to go back to the Renaissance world and to what portraits were then. It was quite a coincidence that after publishing my last post about Katz’s portraits ( Is this a portrait ), I should have the opportunity to see the gorgeous Mantegna – Bellini exhibition at the Gemäldegalerie in Berlin.

Mantegna descent into limbo