Bellini, San Giobbe Altarpiece

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Bellini, San Giobbe Altarpiece발음듣기

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(piano music) Man: We're in the Academia in Venice and we're looking at a relatively early Giovanni Bellini.발음듣기

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This is the San Giobbe Altarpiece.발음듣기

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Woman: This was made for a church here in Venice dedicated to prayers for plague victims.발음듣기

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One of five plague churches in Venice.발음듣기

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Venice was a place that especially suffered from the plague.발음듣기

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Man: So this is, we think, the very first Sacra Conversazione that is set within the architecture of a church painted in Venice.발음듣기

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And one of the first examples anywhere in Italy.발음듣기

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Woman: Sacra Conversazione is a group of saints from different time periods together in the same space with the Madonna and child.발음듣기

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This was certainly a new trend in painting in the late fifteenth century.발음듣기

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We see it in the work of Pierro della Francesca in his Brera Altarpiece and we also see it in the San Zeno altarpiece.발음듣기

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We're invited to join the court of heaven, Mary and Christ surrounded by saints and angels.발음듣기

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Man: And one of those saints is quite literally inviting us into the space.발음듣기

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If you look on the extreme left you see Saint Francis.발음듣기

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He is not only displaying his stigmata, that is the holes in his hands and his feet and his side that he received as a kind of honor because he lived his life so closely to Christ but he is actually beckoning us.발음듣기

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If we can be as faithful as he, we could join this spiritual company.발음듣기

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Woman: That invitation is there in the very construction of the painting.발음듣기

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The painting had a rounded, an architectural frame, that had on either side plasters with capitals very much like the ones that we see in the painted space.발음듣기

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Man: That's right this painting in it's original frame had married the architecture of the actual church with the architecture of the invented space.발음듣기

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Woman: Bellini is also joining our space with the space of the Madonna and saints by creating this coffered barrel vault that extends into our space from which a canopy or baldacchino hangs so we really feel this joining of our own space in the space of the painting.발음듣기

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Man: But the architectural references in this painting are not so much to the church of San Giobbe as to the most important church in Venice, that is the Basilica of Saint Mark.발음듣기

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Woman: We can see that if we look up at the apse above and behind Mary and Christ.발음듣기

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This is exactly what the inside of Saint Mark looks like with mystical golden light created by the mosaics.발음듣기

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Man: You can also see references to San Marco in the beautiful [?] decorated marble that exists in back of the throne.발음듣기

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After Venice had plundered Constantinople in 1204 during the fourth crusade they had brought back all of these treasures including this very decorative marble, which is all over the exterior of San Marco.발음듣기

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And we see it replicated here in Bellini's painting.발음듣기

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Let's go back to those saints for a moment though.발음듣기

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In addition to Saint Francis you can see that there are two other saints on the left side.발음듣기

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In the background Saint John the Baptist and then Job himself, who is offering prayers in the direction of Christ and the virgin Mary.발음듣기

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Then on the other side we see Saint Dominick, in the foreground the nearly naked Saint Sebastian, and then in the back Saint Louis of Toulouse.발음듣기

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Now remember this is just the beginning of what we will call the high Renaissance.발음듣기

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Bellini is really interested in geometry here.발음듣기

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You can see that the three saints on the left side create a kind of triangle with their heads pointing back into space with Saint John the Baptist's head as the furthest most point.발음듣기

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On the right side we have another triangle of heads, so we have these inverted triangles.발음듣기

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Woman: We also have a pyramid in the three angels at the bottom of the throne, and then Mary herself holding the Christ child, her body forms a pyramid.발음듣기

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Something we see very often in high Renaissance art.발음듣기

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We might recall, for example, Leonardo's Virgin of the Rocks, where Mary and Christ and Saint John and an angel form a pyramid.발음듣기

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Man: Geometry is bound to help with our understanding of the high Renaissance because it can help provide a sense of stability, of balance, and a sense of the eternal.발음듣기

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Woman: So what Bellini is doing so different from earlier Sacra Conversaziones, if we could think for example of Domenico Veneziano's Saint Lucy altarpiece, there, there is a clear white light that permeates that space.발음듣기

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But here Bellini has created a golden warm tonality and atmosphere that unifies the figures.발음듣기

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Man: I think that also comes right out of Bellini's experience in San Marco.발음듣기

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That architectural space has such a kind of rich internal atmosphere that is full of mystery, that is full of shadow.발음듣기

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Bellini has brilliantly found a way of bringing that to the painted surface.발음듣기

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Woman: In so many ways this painting is a continuation of something started by Masaccio of creating an illusion on the wall of real space but the naturalism of the Renaissance,발음듣기

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its emphasis on real bodies and real space, is tempered I think by Bellini.발음듣기

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That golden light, the meditative mood of the figures, this all gives us a sense of transcendence, of looking at something spiritual.발음듣기

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Man: One of the things that I find most powerful about this painting is the rendering of the human bodies.발음듣기

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You have two figures that are almost completely nude.발음듣기

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And whose bodies are defined so beautifully by the subtle light and Sebastian really stands out in this regard.발음듣기

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Woman: Look at his beautiful contrapposto.발음듣기

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Man: There is this attention to the beauty of the body, which is such an expression of the thinking of the Renaissance. (piano music)발음듣기

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