Giovanni Bellini, San Zaccaria Altarpiece발음듣기
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Giovanni Bellini, San Zaccaria Altarpiece
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(piano music) Steven: We're in the Church of San Zaccaria in Venice, and we're looking at one of Giovanni Bellini's last altar paintings.발음듣기
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Then, all the way on the right, we see Saint Jerome, the translator of the Bible into Latin, the Vulgate, and so he's associated with learning.발음듣기
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Steven: But what I see across all of these figures is a tremendous degree of solemnity; of quiet.발음듣기
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Absolutely, like in Masaccio's painting of the Holy Trinity, Bellini opens up the wall, so we don't believe that it's a wall any more, but rather a chapel.발음듣기
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Steven: It's interesting that the interior architecture, the depicted architecture, seems to relate to the frame of the painting.발음듣기
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The physical stone, because we can see, for instance, arches moving towards us on the upper left and upper right that frame the landscape, that we seem to be able to walk out, but we don't know how much of the original frame remains.발음듣기
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Obviously eventually returned, but we're not even sure if this painting is in its original location.발음듣기
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Beth: So it seems to me Bellini is working hard to make this into a space that we can participate in, or at least understand, but on the other hand, we see the figures from very far below, and we look up at them, and so there is a real distance that's also there.발음듣기
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In other words, we can approach it; we can certainly pray to it; but we're not quite invited to participate in it.발음듣기
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Beth: So this is painted in oils, and we know that Bellini was one of the leaders in exploring the possibilities of oil paint.발음듣기
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Unlike tempera, which is opaque, you can't see through it, oil, if you thin it down, you can see through it, and applied to a white ground in thin layers, you could create color with a depth and saturation that artists were never able to do before.발음듣기
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The painting as it currently sits in the church is aligned so that the actual light from the sun outside corresponds perfectly with the light and shadow in the painting.발음듣기
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As we stand and look at it, the doorway makes sense in relationship to the painting, when we see shadows moving from the left toward the right.발음듣기
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Steven: And we see that beautifully also in the apse mosaic; there is this golden mosaic that is a reminder of Bellini's lifetime interest in the Byzantine tradition.발음듣기
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Beth: The place that Bellini would have been most familiar with, that exemplified that tradition, is the Church of Saint Mark's here in Venice, that is covered with golden mosaics, very much like the one we see in the apse here.발음듣기
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If you look at the throne that Mary sits on, you see a classicizing head above it, and we think that might be King David; a reminder of Christ's regal ancestry, according to tradition.발음듣기
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Beth: There is that sense of calm and contemplativeness, and it comes I think also in part from the symmetry. It's not a rigid symmetry.발음듣기
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Two figures on either side; the figures close to us facing front, looking down; the two female figures looking inward;발음듣기
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Steven: That sense of harmony and elegance is drawn out also in gentle arcs that we can see throughout the composition.발음듣기
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Look for instance at the arc of the sleeve of Saint Peter, that's echoed by the palm frond held by Catherine and her drape.발음듣기
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