Jacopo Bellini, the astute founder of a family workshop, collaborated first with his two sons, Gentile, the eldest, and Giovanni (born out of wedlock), and then arranged the marriage of his daughter Nicolosia to Andrea Mantegna in 1453. Thus, Jacopo brought into the family a brilliant young parvenu, almost an autodidact who had attracted the attention of humanist patronage in Padua. The exhibition at the National Gallery London, until late January 2019, explores the relationship of the brothers in law in surprising ways. It will open in a slightly different form at the Gem€adegalerie, Berlin, on 1 March 2019. At the beginning, Jacopo’s altarpieces are contrasted with his radically innovative book of drawings from the British Museum, known as the Bible of Venetian art, with compositions predictive of later Venetian painting by his workshop. Unlike any other exhibition, this one is about artistic collaboration between Bellini and Mantegna created by curatorial cooperation between the National Gallery in London and the Gem€adegalerie, Berlin, with spectacular loans from other museums, and extensive research over many years. This kind of close analysis of how the Renaissance occurred in Northern Italy is unprecedented in the early modern field. In art historiography a similar approach was taken when showing how Picasso and Braque competitively created Cubism. The exhibition often uses data from conservation, interrogating well-known pictures with the latest scientific means to reveal new insights about how they were made. In the exhibition Mantegna emerges as the strategic artist, deciding on a style that he consistently develops, while Bellini is always surprising, unpredictable, questioning, deeply religious and competitive. Some of these paintings originated in close proximity, but for the first time are placed in meaningful confrontations 500 years after they were created. One of the most surprising revelations concerns the two versions of the Presentation of Christ in the Temple, one by Mantegna in Berlin from the mid-1450s, the other by Bellini in Venice from the mid-1470s (Figure 1). Mantegna’s version may include a self-portrait on the right side, with his wife Nicolosia, with whom he had seven children, on the left. Conservators have revealed that Bellini traced the composition from Mantegna’s

中文翻译：

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展会回顾

Jacopo Bellini 是家族作坊的精明创始人，他首先与他的两个儿子 Gentile、长子 Gentile 和 Giovanni（非婚生）合作，然后在 1453 年安排了他的女儿 Nicolosia 与 Andrea Mantegna 的婚姻。因此，Jacopo给家里带来了一位才华横溢的年轻新秀，几乎是一位自学者，在帕多瓦引起了人文主义赞助人的注意。伦敦国家美术馆的展览将持续到 2019 年 1 月下旬，以令人惊讶的方式探讨了姐夫之间的关系。它将于 2019 年 3 月 1 日在柏林的 Gem€adegalerie 以略有不同的形式开幕。 一开始，雅格布的祭坛画与他在大英博物馆的激进创新的绘画书形成鲜明对比，被称为威尼斯艺术的圣经，与他的工作室预测了后来的威尼斯绘画的构图。与任何其他展览不同，这次展览是关于贝里尼和曼特尼亚之间的艺术合作，由伦敦国家美术馆和柏林 Gem€adegalerie 之间的策展合作，从其他博物馆借来的壮观作品，以及多年来的广泛研究。这种对文艺复兴如何发生在意大利北部的细致分析，在近代早期领域是前所未有的。在艺术史学中，在展示毕加索和布拉克如何竞争创造立体主义时，也采用了类似的方法。展览经常使用来自保护的数据，以最新的科学手段询问知名图片，以揭示关于它们是如何制作的新见解。在展览中，曼特尼亚成为战略艺术家，决定了他不断发展的风格，而贝利尼总是令人惊讶、不可预测，质疑，虔诚的宗教和竞争。其中一些画作起源于近距离，但在它们创作 500 年后第一次被置于有意义的对抗中。最令人惊讶的启示之一是关于圣殿中基督的介绍的两个版本，一个是 1450 年代中期在柏林的曼特尼亚，另一个是 1470 年代中期在威尼斯的贝利尼（图 1）。Mantegna 的版本可能包括右侧的自画像，左侧是他的妻子 Nicolosia，与他有七个孩子。保护人员透露，贝利尼追踪了曼特尼亚的成分 最令人惊讶的启示之一是关于圣殿中基督的介绍的两个版本，一个是 1450 年代中期在柏林的曼特尼亚，另一个是 1470 年代中期在威尼斯的贝利尼（图 1）。Mantegna 的版本可能包括右侧的自画像，左侧是他的妻子 Nicolosia，与他有七个孩子。保护人员透露，贝利尼追踪了曼特尼亚的成分 最令人惊讶的启示之一是关于圣殿中基督的介绍的两个版本，一个是 1450 年代中期在柏林的曼特尼亚，另一个是 1470 年代中期在威尼斯的贝利尼（图 1）。Mantegna 的版本可能包括右侧的自画像，左侧是他的妻子 Nicolosia，与他有七个孩子。保护人员透露，贝利尼追踪了曼特尼亚的成分