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Jacopo Bellini's biography

Facts about Jacopo Bellini life

 

Jacopo Bellini was in Venice. He was an Italian painter who was one of the founders of the Renaissance style of painting in Venice and northern Italy. He was a student of Gentile da Fabiano. While in Foligno in 1411-12, he and Gentile worked on the grescoes of Palazzo Trinci. In 1423 he visited Florence where he had his friends Brunelleschi, Donatello, Masolino and Masaccio.

He opened a workshop in Venice in 1424 in which he worked till his end. Jacopo’s eldest son Gentile(1429-1507) olearnt painting from his father at his workshop. Enough commissions were coming regularly since his talent was recognized at an early age. This recognition from Emperor Frederick III in 1469 resulted in Jacopo being appointed court palatine. In 1479 at his 50th year the Republic of Venice deputed him to Constantinople where he painted the portrait of Sultan Mehmet II which was a big honor. This well known portrait of the Conqueror of Byzantine is presently at the National gallery, London. Vasari wrote that Mehmet was unable to gauge how an ordinary man could possess so much artistic skill to depict nature so vividly.
Jacopo returned with loads of gifts and honors including a title “bey”(knight0.

Jacopo also made large historical scenes in the style of the early Venetian Renaissance. Some of these are THE PROCESSION IN ST MARK’S SQUARE(1496) and THE RECOVERY OF THE RELIC OF THE TRUE CROSS AT THE BRIDGE OF S. LORENZO(1500). No other art work in Venice could match his panels. The medieval bridge in S. Lorenzo and the accurate representation of St Mark’s Square enabled him to overtake Canaletto. As far as colors were concerned Jacopo maintained the 15th century patterns.

Jacopo’s most eminent student and successor was Carpaccio. Few of his works still exist, but his abiding interest in landscapes and elaborate architecture are reflected in the servicing sketch books___ one in the British Museum and another in the Louvre. These are among his prominent legacies. These show his accommodative nature to linear perspective to the decorative patterns and rich colors of Venetian art.

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(1400-70/71)

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