Bellini had a large workshop of assistants who worked under his supervision, producing paintings in his style. Small-scale images of the Virgin Mary and Christ Child made for private worship were one of Bellini’s specialities, and there was intense demand for them. 's second state of three Accession: 1984.1201.70 On view in: Not on view Christ Crucified between the Two Thieves: The Three Crosses Recent technical study has confirmed that the painting is by Bellini. A bright light, shining from the left, falls on Saint Jerome, his book and the foreground cliffs, and on the towers of the distant city; the landscape between them is plunged in shadow. This is one of those works, whi... A Dominican, with the Attributes of Saint Peter Martyr, Portrait of Fra Teodoro of Urbino as Saint Dominic, Research, private study, or for internal circulation within an educational organisation (such as a school, college or university), Non-profit publications, personal websites, blogs, and social media. Sometimes he kneels in penitence for his sins, as in Cima da Conegliano’s Saint Jerome in a Landscape; sometimes he is in the act of translation, as in Antonello’s Saint Jerome in his Study. He was catering for the Venetian art market, and devotional panels which shared some of the qualities of early Netherlandish paintings were especially valued; Bellini developed a genre of religious paintings which took their meaning from the use of landscape and light.

Aware of his imminent arrest and death, Christ prays; a cherub appears and presents him with a chalice. The saint’s body, from his bent and brightly lit right arm to his feet, forms a curve around the book balanced on his knee, cutting him off from the landscape and emphasising his absorption in the text. Venetian Paintings of the 15th & 16th Centuries, M. Knoedler and Company, New York, 1938, no. Bellini painted this subject several times, always using landscape and dramatic lighting to convey meaning. This picture was once thought to be a ‘portrait’ of the saint: we can see the hilt of a dagger which has been plunged into his heart, and a cleaver lodged in his head.X-ray imagery sho... Leonardo Loredan knows that he is being looked at, but he does not return our gaze. (artist) His... Christ is shown resurrected after dying at the Crucifixion, his triumph over death reinforced by the way he cradles the Cross on which he was crucified. This type of image of Christ after his death – close up, showing his naked torso – originated in Byzantium (the Eastern Christian empire) but was very popular in Italy from about the thirteenth century. ‘St.Jerome reading’ was created in 1638 by Georges de la Tour in Tenebrism style. This scene tells the story of the murder of Saint Peter Martyr, a friar of the Dominican Order who was killed by members of the Cathars, a heretical sect whose teachings he had spoken against publicly. painted surface: 47 x 37.5 cm (18 1/2 x 14 3/4 in.

Cliffs tower around Jerome, cutting him off from civilisation (represented by the walled city in the background). West Building Jerome’s head is painted with great attention to detail, and if you look closely you can see the individual brushstrokes in his hair and beard. The line of his right arm is continued by the city walls and the top of the cliff, and other diagonals are formed by the book and the fissures in the cliff face. 7th St and Constitution Ave NW In 1252 Saint Peter Martyr, a Dominican friar from Verona, was assassinated in an ambush by a group of heretics. Small-scale images of the Virgin and Child made for private worship were a speciality of Bellini’s. The West Building, Ground Floor galleries are now open. © 2020 National Gallery of Art   Notices   Terms of Use   Privacy Policy. This image is licensed for non-commercial use under a Creative Commons agreement. The movement from lower left to upper right is brought to an abrupt halt by the barren tree which juts out in the opposite direction, echoing the line of the saint’s left leg.

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He is shown naked, sitting on a cushion upon a table or altar, clenching his little fists as a priest performs the ritual. 12); purchased by Murray [probably Charles Fairfax Murray [1849-1919, London and Florence].

Here, the still Virgin contrasts with the landscape, where the varying shapes of the clouds, from thin and wispy to f... Christ’s disciple Judas – visible just beyond the river, leading a group of soldiers to Christ – has betrayed him. [2] The Duveen Brothers letter confirming the sale of thirteen paintings and one sculpture, including NGA 1939.1.217, is dated 18 May 1936; the provenance is given as "Benson Coll'n" (copy in NGA curatorial files; Box 474, Folder 5, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles). Giovanni Bellini painted this subject several times during his career. The illusionistic detail of the distant roofs and towers, which have also been rapidly painted, can be seen in Bellini’s other works, such as The Agony in the Garden. The diagonal line of his upper arm and shoulder are echoed by the rocky outcrop behind him, which itself pushes the city further into the distance. In order to meet the huge demand for his paintings, Giovanni Bellini had a large workshop of assistants who produced works in his style, under his supervision – like this one, which shows the Three Kings worshipping the infant Christ.

Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1632 Medium: Etching; New Holl. It was not drawn from life, but is probably derived from many such beasts in the notebooks of his father, Jacopo Bellini. 11:00 a.m.–4:00 p.m. daily, East Building

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Cliffs tower around him and exemplify his isolation in the wilderness, cut off by rocks and water from civilisation, represented by the walled city behind. Saint Jerome’s head is depicted with great attention to detail, the paint applied quickly and loosely using a fine-pointed brush: look closely and you can see the brushstrokes in Jerome’s hair and beard. ), Giovanni Bellini ‘St. [1] Duveen Brothers Records, accession number 960015, Special Collections, Getty Research Institute, Los Angeles, Series I Business Records, New York Sales Lists 1922-1928.

The image file is 800 pixels on the longest side. )support: 48.9 x 39.5 cm (19 1/4 x 15 9/16 in.

Giovanni Bellini was one of the first Italian painters to use natural settings to enhance the meaning of his pictures. As they are very different in scale, the design can't have been transferred mechanically from one to the other.

Closed. The Virgin Mary adores the Christ Child sleeping on her lap.
2, repro., as Saint Jerome Reading in a Landscape. You must agree to the Creative Commons terms and conditions to download this image. 4th St and Constitution Ave NW 121, repro. Jerome Reading’ was created in 1650 by Georges de la Tour in Tenebrism style. 6th St and Constitution Ave NW Free, timed passes are required and released each Monday at 10:00 a.m. for the following week. Recent technical study has confirmed that the painting is by Bellini himself, rather than a follower.

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This picture was thought to be by the artist’s assistants, but recent technical analysis showed that it was made by Bellini. ), framed: 62.9 x 52.9 x 6 cm (24 3/4 x 20 13/16 x 2 3/8 in. The saint is shown on the left – he has collapsed to his knees, an axe lodged in his skull. Venetian, c. 1430/1435 - 1516. Infrared reflectography has shown that Bellini made his usual highly detailed underdrawings. His body is weak and pale – we can see his ribcage, and his cheekbones stick out of his gaunt face.

The composition is carefully and geometrically structured. According to the Gospel of Luke, Christ was circumcised, like all Jewish baby boys, when he was eight days old (Luke 2: 21). He was widely depicted in northern Italian art, from Pisanello on.

Charles Butler [1822-1910], London and Warren Wood, Hatfield, Hertford; purchased 1891 by Robert Henry [1850-1929] and Evelyn Holford [1856-1943] Benson, London and Buckhurst Park, Sussex; sold 1927 to (Duveen Brothers, Inc., London and New York); sold 1 October 1928 to Clarence H. Mackay [1874-1938], Roslyn, New York; [1] (Duveen Brothers, Inc., London and New York); sold May 1936 to the Samuel H. Kress Foundation, New York;[2] gift 1939 to NGA. An elderly man, barefoot and with an impressive grey beard, is perched on a rock, engrossed in a book.


The only pentimento in this carefully planned painting is the lion tucked into the lower right corner over the complete rocks; it adds a lively, humorous touch. Monson, William John 7th Baron Monson and Viscount Oxenbridge.

11:00 a.m.–4:00 p.m. daily, Sculpture Garden Stay up to date about our exhibitions, news, programs, and special offers. He was widely depicted in northern Italian art, from Pisanello on.

This is Saint Jerome, translator of the Bible into Latin.

Open Access image.

Frederick John Monson, 5th baron Monson [1809-1841], Gatton Park, near Reigate, Surrey; by inheritance to his cousin, William John Monson, 6th baron Monson [1796-1862], Gatton Park and Burton Hall, Lincolnshire; by inheritance to his son, William John Monson, viscount Oxenbridge and 7th baron Monson [1829-1898], Burton Hall, Lincolnshire; (Monson sale, Christie, Manson & Woods, London, 12 May 1888, no. His only companion is an endearing lion which lies peaceably in the corner – he had tamed it by removing a thorn from its paw. Artist Rembrandt van Rijn Title St. Jerome Reading Origin Holland Date Made 1634 Medium Etching on ivory laid paper Dimensions 109 x 89 mm (image/plate); 115 x 97 mm (sheet) Credit Line Clarence Buckingham Collection Reference Number 1938.1803 Extended information about this artwork Find more prominent pieces of religious painting at Wikiart.org – best visual art database. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. A bright light falls on the saint and on the distant towers, but the landscape between them is plunged in shadow. In all his images of Saint Jerome, the setting seems as much the subject as the saint. Read our full Open Access policy for images. Saint Jerome was a favourite of the religious orders as a role model for living an ascetic life – he renounced worldly riches and pleasure – and also of humanist scholars for his study of the Bible.


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