Word: bellini
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...Pieve di Cadore, in north Italy, in 1478 or 1479. Apprenticed to a Venetian artist before his 10th birthday (no child labor, no Renaissance), he came to work with the two painters whose work incarnated the "modern style" that had pushed Venetian taste away from gold-ground Gothic: Giovanni Bellini and Giorgio da Castelfranco, alias Giorgione. One sees, in the introductory galleries of this show, how Bellini supplied the prototypes for one side of early Titian, his suave construction of pictorial space and pragmatic realism. Then, equally fundamental, there is Giorgione, Titian's exact coeval, but dead "of exhaustion...
...works were hard to reassemble. Yet Laclotte and his team have brought together no fewer than 55 major paintings by Titian himself, along with about 200 drawings and prints. For comparison, there are a further 200 or so works by the Venetian artists who shaped him -- Giorgione, Giovanni Bellini -- and by those who were inspired by him. The latter group, ranging from Veronese, Tintoretto and Jacopo Bassano in Venice to Savoldo in Brescia and Dosso Dossi in Ferrara, is large, since Titian was one of the half a dozen or so most influential painters who ever lived. Among Venetian artists...
MIRETTE ON THE HIGH WIRE by Emily Arnold McCully (Putnam; $14.95). In Mama's boardinghouse, little Mirette is surrounded by famous acrobats. None is more attractive than M. Bellini, a tightrope walker who has suddenly lost his courage. Mirette can restore it, but only if she accompanies him on his walk over the rooftops of Paris. Wistful watercolors evoke turn-of-the-century France, and the narrative is as taut as the high wire itself...
...important as being a great warrior: Suleyman I was a poet, Ahmed III a calligrapher and Selim III a composer. Keepsakes and baubles were always in demand for birthdays and special occasions. Their studios and warriors worked overtime, and the court attracted masters of the West like Gentile Bellini. This constant infusion of diverse styles from conquered territories and visiting artists mutated and enriched the designs, resulting in art that was fanciful and sometimes outright gaudy...
...nature of stone goes straight into Mantegna's formal system. It is hard and precise, never atmospheric: he has none of the mellowness of his relative Giovanni Bellini. None of his shapes are fudged or merely alluded to. You see every pebble and crack in the rocks, and of course every line of expression on the human face; in his Portrait of a Man, circa 1470-75, the folds of the red costume have the density of marble, the eyes are gray agate, and the net of lines around them and on the brow is described down to the point...