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Mantegna and Bellini – Berlin exhibition review

I could also be at my happiest when I am taking a look at Venetian artwork. Bellini rates amongst my favourites alongside Giorgione and Lorenzo Lotto (an odd mixture, but I have my reasons). Having missed the exhibit devoted to Mantegna and Bellini in London final Fall, I took benefit of the chance to see its Berlin iteration on a current business journey to the German metropolis. Andrea Mantegna and Giovanni Bellini have been virtually the identical age, and have been brothers-in-law; the show is dedicated to their inventive relationship, comparing and contrasting them, and demonstrating how neither’s career or inventive improvement would have existed without the opposite.

The present in London acquired combined evaluations – Jonathan Jones claimed you’d need a PhD to know it (he seems to have it in for the best way Bellini family drawing album opened the UK exhibit, however that was absent right here in Berlin). I urge to differ: my husband, an engineer, completely loved it and he found the thesis easy and properly demonstrated. Personally, despite my PhD on this matter, I wasn’t so aware of the shut similarities discovered within the two artists’ work and enjoyed observing them right here. It’s a present of a very worldwide calibre with every single work being by the 2 masters apart from a couple of well-chosen pieces that function further context; there’s no filler or doubtful attributions right here. This exceptional feat of curation – the sort of thing you possibly can really solely do should you’re a heavyweight establishment – allows us to match, in individual, many works which have by no means hung aspect by aspect before.

Mantegna Bellini display at Staatliche Museen zu Berlin

At the Staatliche Museen zu Berlin, the exhibition area is one very giant room divided by panels to create multiple “niches” that include the thematic sections. These are lusciously painted with colors drawn from Bellini’s palette – the walls are so beautiful, in truth, I’d say they contribute significantly to the success of the show. And whereas the visitor move is a bit odd as you weave your means from one aspect to another, it really works, even on a very crowded Sunday (although I extremely advocate going another time!).

The show opens with a timeline displaying the close birthdates of the 2 artists. Oddly enough, there doesn’t seem to be any introductory wall textual content – they need to assume that everybody uses the audio guide. Born 1431, Mantegna married Nicolosia, the sister of Giovanni Bellini (b. circa 1435) in 1453 in a marriage orchestrated by Jacopo Bellini, head of probably the most profitable inventive household in Venice. The marriage appears to have been organized as a strategy to convey the gifted young man into the family (we don’t know Mantegna’s opinion on the matter). Mantegna, son of a carpenter, educated with Francesco Squarcione in Padova and was also influenced by Donatello there. Giovanni and his brother Gentile have been the sons of Jacopo. While Mantegna turned courtroom painter in Mantua, Giovanni stayed in Venice; each had a huge effect on later Renaissance artwork.

Presentation in the Temple

Presentation in the Temple

From the start, we’re shown how totally different the two artists’ types are, and this comparison is carried throughout the present: Mantegna’s sculptural fashion, precise linearity and anxious mood is contrasted with Bellini’s mushy, painterly landscapes and poetic really feel. We see the 2 artists engaged on the identical topics, typically with comparable compositions. In a single case, Bellini has literally traced Mantegna’s composition: Mantegna’s Berlin Presentation in the Temple was copied twenty years later by Bellini (Fondazione Querini Stampalia). Similar composition, however Giovanni’s figures (two more than the mannequin) are imbued with life and inner dialogue in a means that his brother-in-law’s aren’t. Right here, household connection is the rationale behind the similarities – both works embrace portraits of relations, and it’s potential that Giovanni purposefully adopted Andrea’s format in a type of “sequel”.

Descent into Limbo

Descent into Limbo

In one other comparison that demonstrates influence and collaboration, Bellini bases his Descent into Limbo (Bristol, Metropolis Museum) on drawings by Mantegna and his faculty, recognized also in print. A piece of the present is devoted to this theme that Mantegna expanded upon in numerous studies – small works that it’s a pleasure to be able to see all together. Examples like this span the artists’ complete careers, beyond when Mantegna moved on to Mantova, indicating, I assume, some sort of continued correspondence.

In comparisons like these, Bellini comes out wanting like a copyist with a poetic soul, incapable of arising together with his personal compositions, whereas Mantegna is a person from Mars with a hyperactive imagination. I can’t help but assume that an entire lot of context is lacking from this story – info that might clarify the explanations behind these similarities. As I anticipated, the superb catalogue is a must-read in this sense, and in fact it wouldn’t be potential to incorporate this degree of data into the general-public exhibition area. Curator Caroline Campbell puts the artists and their works into the contexts of the cities through which the artists worked: Padua, seat of mental innovation and Humanism; Venice, the spiritual superpower and perfectly ruled state. The essay by Andrea Marchi addresses my perplexity at length; he identifies how when each the Bellini and Mantegna workshops have been working in Padua in 1457-9, Giovanni Bellini begins to take notice of Mantegna’s “compositional framework that creates such a supreme bond between each gesture and each foreshortened figure,” (p. 35), and this bond, I feel, is the outcome that pursuits him. Marchi also mentions compositions of architecture inside landscape which are all Bellini’s, however not included in this exhibition. Reminding us that Bellini most popular to color devotional work over complicated histories is a method of indicating that each artist had his speciality, and that Bellini merely most popular to pay attention his efforts on rendering the atmospheric relationship between man and nature.

Agony in the Garden

Agony within the Backyard

Back to the show, in different instances, we see the two artists engaged on the identical spiritual subject however there’s not a one-to-one relationship between the compositions. These serve to spotlight every artist’s particular person fashion and brilliance, and to the fashionable viewer, Bellini begins to look extra like a winner. A comparability that really usually hangs aspect by aspect within the National Gallery in London includes two photographs of the Agony within the Backyard. Each are in egg tempera regardless of Bellini’s incorporation of oil in most of his works – a big issue that differentiates the 2 artists. Mantegna’s smaller panel dates to some years earlier than Bellini’s, and is an excellent invention filled with imagined antique details. Bellini’s work, which uses the very efficient diagonal composition typical of Venetian portray, brings us into modern Italy in his lovely landscape suffused with dawn mild.

Saint Sebastian

Saint Sebastian

One other comparison, that of two pictures of Saint Sebastian, even more clearly hammers house the thought of two very totally different moods, encapsulated in the face of the Saint. You’ll be able to rise up very near the paintings without setting off alarms, so you possibly can look at the tiny particulars in the landscapes that both artists take pleasure in depicting. I spent ages admiring Bellini’s masterful blending of oil paint within the rocks in the Berlin Resurrection of Christ in addition to the tiny, correct animals by Mantegna in his Saint Sebastian.

Detail of rock formation in Bellini's Resurrection of Christ

Detail of rock formation in Bellini’s Resurrection of Christ

The exhibition concludes with Mantegna’s Triumph of Virtues (Paris) and Bellini’s Feast of the Gods (Washington) subsequent to one another; the 2 masterpieces have been made, respectively, for Isabella d’Este and her brother Duke Alfonso I d’Este. Isabella’s Studiolo decorations have been based mostly on complicated iconography developed in session with the humanist scholar Paride da Ceresara, usually about advantage conquering vice. Isabella desperately needed a Bellini on this area, but the artist refused; apparently, Bellini most popular to create a devotional work for her (he did, it’s misplaced), and didn’t need to be in comparison with Mantegna’s work in the same area. The letter (which we shouldn’t take 100% at face worth) via an agent says: “[the picture] would be compared with those works
 by messer Andrea [Mantegna], and thus he wishes 
to do as he knows [best]” (cat. p.15). Mockingly, right here we are doing simply that. The selection of artists and types go well with both the subjects and their patrons. Isabella’s Mantegna clearly delineates right and incorrect together with his sculptural type; Alfonso’s Bellini is able to skirt the line between lasciviousness and the suitable via delicate remedy of a topic typically used as an excuse to point out dangerous behaviour.

Mantegna's Garden of Virtue

Mantegna’s Triumph of Virtues

Mantegna and Bellini have been two extremely essential Renaissance artists with very distinct types and clear factors of intersection. This exhibition lets most of the people observe the place they meet and draw conclusions for themselves by way of the very special opportunity to make numerous on-point comparisons in individual. For more professional viewers, the catalogue is the right companion to go beyond remark and look into the inventive traditions of the cities by which the two artists labored, as well as patronage expectations and iconographic conventions that influenced each artist’s type.

Bellini, Feast of the Gods

Bellini, Feast of the Gods

Visitor Info

Mantegna and Bellini. Masters of the Renaissance
1 March – 30 June 2019
Staatliche Museen zu Berlin