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Fifteenth Century Venice stood out of the Adriatic in a blaze of gold, ultramarine and many-colored marble. There Giovanni Bellini grew up, amidst a half-Oriental riot of clear colors. Scores of carved and painted ships furled their emblazoned sails at the city's steps. Indoors, Byzantine mosaics shattered the streaming white light into stabs of dandelion yellow, blood, emerald, and midnight blue. Paintings glistened with the burnished metals and translucent glazes evolved by Pisanello and Gentile da Fabriano...

Author: /time Magazine | Title: Art: Master of Venice | 6/3/1946 | See Source »

...Giovanni breathed in all this brightness and richness like the air, and almost as naturally began painting pictures of his own. Now, in a handsome book to be published next week (Giovanni Bellini, Phaidon, Oxford; $6.50), a large part of Bellini's work has been spread out for those who want to see the dawn of the Renaissance in Venice...

Author: /time Magazine | Title: Art: Master of Venice | 6/3/1946 | See Source »

...cash is plentiful in the current U.S. art market-and pedigreed paintings are scarce. Average collectors may well be confused by recent auction prices. So may experts. (The jolt of the year was a Bellini from the Jules Bache collection. Bache had paid $160,000 for it; a dealer got it last month at auction...

Author: /time Magazine | Title: Art: On the Block | 5/14/1945 | See Source »

...Street firm in 1892, swelled it to 42 offices, 800 employes. He became one of the greatest patrons of pre-19th-Century art, in 1937 turned over to New York his Fifth Avenue mansion, with its choice, more-than-$12,000,000 assortment of canvases, from 18th-Century Giovanni Bellini to 18th-Century Sir Joshua Reynolds...

Author: /time Magazine | Title: Milestones, Apr. 3, 1944 | 4/3/1944 | See Source »

Genuine paintings from the thirteenth through the nineteenth centuries are shown side by side with their respective counterfeits. Examples include pieces by Bellini, Raphael, Constable, Corot, Guardi, Ingres, and Durer. Egyptian, Greek, and Italian Renaissance sculpture, together with Chinese and Aztec figures in stone, complete the main body of the exhibit. Forgetting the line of demarcation which can be drawn between the false art and the true, it can be said that many of the examples shown are products of great craftsmanship and skill. The counterfeit Raphael as well as the Constable indicates that the forger can often be placed...

Author: By John Wilner, | Title: Collections & Critiques | 5/15/1940 | See Source »

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