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 :. | Madonna of the Meadow | Pesaro Altarpiece | Calvary (mk05) | Dead Christ Supported by the Madonna and St John | Madonna in the Meadow |
Related Artists:
Harold Gilman
British 1878-1919 Harold Gilman Gallery Developing an interest in art during a childhood convalescence period, he began his artistic training after a non-collegiate year at Oxford University (again cut short by ill health) and time working as a tutor to an English family living in Odessa. Studying at the Hastings School of Art (1896) and then the Slade School of Fine Art (1897?C1901), he then spent over a year studying the Spanish masters (Velazquez as well as Whistler were major early influences) and meeting and marrying the American painter Grace Cornelia Canedy. Moving back to London, where they settled (apart from an abortive trip to visit her family in Chicago, in which Gilman ducked pressure to join the Canedy family business), they had two daughters (one in London, one in Chicago). Meeting Walter Sickert in 1907, Gilman became a founder member of both the Fitzroy Street Group (in 1907) and the Camden Town Group (in 1911). In the meantime he joined the Allied Artists' Association, moved to Letchworth, and began to show influence from work of Vuillard as well as Sickert. He soon outpaced Sickert's understanding of post-Impressionism and moved out from under his shadow, however, using ever stronger colour and identifying with Charles Ginner as a 'Neo-Realist' (exhibiting with Ginner under that label in 1914). Canal Bridge, Flekkefjord, c. 1913Gilman visited Scandinavia in 1912 and 1913, and may have travelled with the artist William Ratcliffe, who had relations there. Gilman made studies of the environment, and painted Canal Bridge, Flekkefjord, an accurate depiction, whose subject is likely to have been inspired by Vincent van Gogh's depiction of a similar bridge in Provence. Gilman had rejected Van Gogh's work when he first encountered it, but later became a strong admirer and, according to Wyndham Lewis, keeping postcards of Van Gogh's work on his wall and sometimes hanging one of his own works next to them, if he was especially satisfied with it. At that time he also joined Robert Bevan's short-lived Cumberland Market Group with Ginner and John Nash. Remarrying in 1917, in 1918 he was commissioned to travel to Nova Scotia by the Canadian War Records.
Augustus Egg
(2 May 1816 - 26 March 1863) was a Victorian artist best known for his modern triptych Past and Present (1858), which depicts the breakup of a middle-class Victorian family. Augustus Egg was born in London on 2 May 1816 to Joseph and Ann Egg, and baptised in St James's Church, Piccadilly on 30 May 1816. He had an elder brother, George Hine Egg. His father Joseph Egg was a wealthy gunsmith from the distinguished gun making family, who immigrated to London from Huningue, Alsace. Egg was educated in the schools of the Royal Academy, beginning in 1836. Egg was a member of The Clique, a group of artists founded by Richard Dadd and others in the late 1830s (c. 1837). Egg sought to combine popularity with moral and social activism, in line with the literary work of his friend Charles Dickens. With Dickens he set up the "Guild of Literature and Art", a philanthropic organisation intended to provide welfare payments to struggling artists and writers. He acted the lead role in a play written by Edward Bulwer-Lytton to raise funds for the organisation. His self-portrait in the role is in Hospitalfield House in Arbroath. Egg's early paintings were generally illustrations of literary subjects. Like other members of The Clique, he saw himself as a follower of Hogarth. His interest in Hogarthian moral themes is evidenced in his paired paintings The Life and Death of Buckingham, depicting the dissolute life and sordid death of the Restoration rake. Yet his paintings often took a humorous look at their subjects, as in his Queen Elizabeth Discovers she is no longer Young (1848). Unlike most other members of The Clique, Egg also admired the Pre-Raphaelites; he bought work from the young William Holman Hunt and shared ideas on color theory with him. His own triptych, known as Past and Present, was influenced by Hunt's work. The triptych depicted three separate scenes, one portraying a prosperous middle-class family and the other two depicting poor and isolated figures e two young girls in a bedsit and a homeless woman with a baby. The viewer was expected to read a series of visual clues that linked together these three scenes, to reveal that the prosperous family in the central scene is in the process of disintegrating because of the mother's adultery. The two outer scenes depict the separated mother and children a few years later, now living in poverty. The painting's use of flashback e the central scene is occurring in the past e has been seen as a precursor of cinema. Egg was also an active organiser of exhibitions, being admired by fellow-artists for his dedication and fair mindedness. He was one of the organisers of the Manchester Art Treasures Exhibition in 1857. He was elected to the Royal Academy in 1860. Always in poor health, Egg spent his later years in the warmer climate of continental Europe, where he painted Travelling Companions, an ambiguous image of two near-identical young women that has sometimes been interpreted as an attempt to represent two sides of the same person. A member of the circle of friends that included Dickens and Wilkie Collins, Egg features in their surviving correspondence. He participated, as actor and costume designer, in their amateur theatricals, which were often conducted for charitable purposes as noted above. In January 1857 he took a part in Collins's play The Frozen Deep, which starred Dickens and was performed at his home, Tavistock House (Egg played John Want, the ship's cook.) The production was also acted before Queen Victoria and then performed for charity. Dickens described Egg as a "dear gentle little fellow," "always sweet-tempered, humorous, conscientious, thoroughly good, and thoroughly beloved." He died in Algiers, Algeria in 1863.
Giovanni Bellini
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.