[20] All three painters, Bellini, Dosso and Titian employed the pigments available in that time period such as natural ultramarine, lead-tin-yellow, malachite, verdigris and vermilion. Giovanni Bellini initially completed The Feast of the Gods in 1514 before amendments were made later on by several artists, one of whom was fellow-Venetian master, Titian. Another suggestion is that the couple in the center, the male with his hand between the female's thighs, are a bridal pair, as shown by their intimacy and the quince she is holding, a fruit recommended for brides to increase their sexual appetites. asked Jul 31, 2019 in Art & Culture by Kelsie. [19], The painting was thoroughly investigated in 1985 and an extensive pigment analysis was undertaken in the course of the cleaning and conservation work on the painting. Feast of the Gods was the first of the works to be completed, in 1514. This painting is testimony to the adaptation and prolific career of Giovanni Bellini. During a festival in honor of Liber that she attended, Priapus tried to rape her while she was asleep, but she was awakened by a sudden cry of Silenus's ass and ran off, leaving Priapus in embarrassment as everyone else woke up too and became aware of his intentions. In the last Fifty years, technical innovations in conservation science have enabled specialists at the National Gallery to obtain X-ray, infrared and cross-section data. [2] Giovan was the son of Olimpia Aldobrandini by her second marriage, to Camillo Pamphili; upon his inheritance, Giovan changed his name to Aldobrandini. Jaffé, 108; Colantuono, 242, prefers Faunus to Silvanus, though sometimes the two were conflated in any case. Seven years later, Titian repainted the Feast of the Gods again. [13], The figures shown are usually taken to be (left to right): a satyr, Silenus with his ass, his ward Bacchus as a boy, Silvanus (or Faunus), Mercury with his caduceus and helmet, a satyr, Jupiter, a nymph serving, Cybele, Pan, Neptune, two standing nymphs, Ceres, Apollo, Priapus, Lotis. After training briefly with a mosaicist, he entered the workshop of Giovanni Bellini, the leading painter of his generation. The Feast of the Gods (Italian: Il festino degli dei) is an oil painting by the Italian Renaissance master Giovanni Bellini, with substantial additions in stages to the left and center landscape by Dosso Dossi and Titian.It is one of the few mythological pictures by the Venetian artist. After about 1530, the year of his wife’s death, Titian more often worked within a more narrow tonal range, using subtle glazes to create complex nuances of color. During the last 20 years of his life, Titian's handling of paint grew looser, opening up a wider gamut of expressive possiblities. On the right, a screen of tree trunks is thinly painted with the same detailed precision that is found in the figures. How much of each artist's work do we see today? The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. The history of ‘The Feast of the Gods’ is rather special and is described on the website of the National Gallery of Art as follows (4): “The Feast was the first in a series of mythologies, or bacchanals, commissioned by Duke Alfonso d’Este to decorate the camerino d’alabastro(alabaster study) of his castle in Ferrara. Despite pressures from powerful patrons for works celebrating themes from antiquity, Bellini resisted painting mythological subjects until late in life. Stay up to date about our exhibitions, news, programs, and special offers. Bellini was also a generous teacher—his pupils included Giorgione and Titian. A broader Some evidence suggests that Feast of the Gods contains cryptic references to the duke’s marriage to Lucrezia Borgia, perhaps even portraits of the couple. Following a succession of commissions for the courts of Ferrara, Mantua, and Urbino, Titian’s fame spread internationally. The pictures in the Camerino were perhaps the crucial stage in this revolution". Did Alfonso “picture” himself in another way as well? Order reproductions from the Gallery Shop. Seven years later, Titian repainted the Feast of the Gods again. But all the work on the figures remains Bellini's. Titian, NGA Images The majority of the slides shows a detailed pigment analysis of the painting containing detailed views of different areas of the artwork and the pigments employed by the painter. Titian died in 1576, as an outbreak of the plague roiled through Venice, but it is not known if he died of the disease. In this illustration of a scene from Ovid's Fasti, the gods, with Jupiter, Neptune, and Apollo among them, revel in a wooded pastoral setting, eating and drinking, attended by nymphs and satyrs. Seven years later, Titian repainted the. Bellini's revelers are a mixture of recognizable classical motifs, such as the satyr and the nymph carrying the vase on her head, and the gods of Olympus looking and behaving a bit like bawdy peasants. 11:00 a.m.–4:00 p.m. daily, East Building [8], It had been suggested that Bellini made a preliminary set of alterations before or soon after 1514 to make the painting more compatible with the original Latin of Ovid, having previously been working from an Italian Ovidio volgarizzato version, and that at this point Bellini changed most of the characters to gods rather than people from Thebes, giving them attributes and lower necklines for the women. Download a digital image of this work, Slideshows framed: 203.8 x 218.4 x 7.6 cm (80 1/4 x 86 x 3 in. Probably commissioned by Alfonso I d'Este, Duke of Ferrara [d. 1534);[1] by inheritance to his son, Ercole II d'Este, Duke of Ferrara [d. 1559]; by inheritance to his son, Alfonso II d'Este, Duke of Ferrara [d. 1597]; by inheritance to his cousin, Cesare d'Este, Duke of Ferrara; confiscated 1598 from the Castello at Ferrara by Cardinal Pietro Aldobrandini [d. 1621], Rome, when he was acting as Papal Legate and recorded in his inventory of 1603; by inheritance to his nephew, Cardinal Ippolito Aldobrandini [d. 1638], Rome, and recorded in his inventory of 1626; by inheritance to his niece, Olimpia Aldobrandini Borghese Pamphilj [d. 1681], Rome, and recorded in her pre-1665 inventory and 1682 posthumous inventory; by inheritance to her son, Giovan Battista Pamphilj Aldobrandini [d. 1710], Rome;[2] Aldobrandini heirs, until the line became extinct in 1760;[3] by inheritance 1769 to Paolo Borghese Aldobrandini [d. 1792], Rome; by inheritance to his nephew, Giovan Battista Borghese Aldobrandini [d. 1802], Rome; purchased 1796/1797 by Pietro Camuccini [1761-1833] for the collection of his brother, Vincenzo Camuccini [1771-1844], Rome;[4] presumably by inheritance to Vincenzo's son, Giovanni Battista Camuccini [1819-1904], Rome; sold 1853 with the entire Camuccini collection through Antonio Giacinto Saverio, Count Cabral, Rome,[5] to Algernon Percy, 4th duke of Northumberland [1792-1865], Alnwick Castle, Northumberland; by inheritance to his cousin, George Percy, 5th duke of Northumberland [1778-1867], Alnwick Castle; by inheritance to his son, Algernon George Percy, 6th duke of Northumberland [1810-1899], Alnwick Castle; by inheritance to his son, Henry George Percy, 7th duke of Northumberland 1846-1918], Alnwick Castle; sold 16 June 1916 to (Thomas Agnew & Sons, London) on joint account with (Arthur J. Sulley and Co., London);[6] inheritance from Estate of Peter A.B.

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