been tempera or fresco. figures are identifiable - Dr. Harris: Gods and nyads - Dr. Zucker: Saters. 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. Copyright complaints  ~   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. The Feast of the Gods 1514 Oil on canvas, 170 x 188 cm National Gallery of Art, Washington: The Feast of the Gods was Giovanni Bellini's last great painting and one of only a few that he executed on canvas. not a public commission, this was for his study, which Copyright © 10/10/2020 Alamy Ltd. All rights reserved. The very detailed and extensive scientific investigation of this painting has been made accessible to broader audience on the Internet by WebExhibits[21] and also more recently by ColourLex. feel part of the landscape. things we consider very Venetian. Dr. Zucker: They really The flesh tones, iridescent silks, and even the foreground pebbles here demonstrate his delicate touch. incredibly ambitious painting. right (crosstalk) is Mercury. He was perhaps then reluctant to compete with his brother-in-law Andrea Mantegna, who specialized in classical subjects. If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked. [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. Lotis, one of the naiads, a nymph of fresh waters who represents chastity. What did the earlier versions look like? Bacchanal, Feast of the Gods. The Three Painters The Feast of the Gods was Giovanni Bellini's last great painting and one of only a few that he executed on canvas. Please contact our customer service team. Dossi painted a bit of the landscape, which I think then Titian painted over. (jazz music). On the distant mountain, which Titian added to Bellini's picture, two more satyrs cavort drunkenly and a hunting hound chases a stag. She was a nymph mentioned by Ovid, the daughter of Neptune or Nereus. The Feast of the Gods 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 was bought in 1922 by the estate of the American magnate Peter A. The Feast of Gods is one of the few examples of the use of orpiment and realgar in the Renaissance oil painting in Italy. By registering in the website you will be able to access extra free functionality. Bellini was one of the most influential Venetian artists. do kind of form this friese along the single plane, it Reading from left to right, the principal figures are: Silenus, a woodland god attended by his donkey, Bacchus, the infant god of wine crowned with grape leaves, Faunus or Silvanus, an old forest god wearing a wreath of pine needles, Mercury, the messenger of the gods carrying his caduceus or herald's staff, Jupiter, the king of the gods accompanied by an eagle, An unidentified goddess holding a quince, a fruit associated in the ancient world with marriage, Pan, a satyr with a grape wreath who blows on his shepherd's pipes, Neptune, the god of the sea sitting beside his trident harpoon, Ceres, the goddess of cereal grains with a wreath of wheat, Apollo, god of the sun and the arts, crowned by laurel and holding a Renaissance stringed musical instrument, the lira da braccio, in lieu of a classical lyre, Priapus, the god of virility and of vineyards with a scythe, used to prune orchards, hanging from the tree above him. Completed in 1514, it was his last major work. 48, as The Gods feasting on the Fruits of the Earth. Studies in the History of Art, 40, 1990, Investigating Bellini's Feast of the Gods, The Dead Christ Supported by the Virgin Mary and St John the Evangelist, Enthroned Madonna Adoring the Sleeping Christ Child, Madonna Adoring the Sleeping Christ Child, Madonna and Child with Saint Peter and Saint Sebastian, Madonna and Child with Saint Mary Magdalene and Saint Ursula, Madonna and Child with the Infant St. John the Baptist, Madonna and Child with St. John the Baptist and a Female Saint, Madonna and Child with Four Saints and Donor, Saints Christopher, Jerome and Louis of Toulouse, Portrait of Fra Teodoro of Urbino as Saint Dominic, Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, The Virgin and Child with Saint George and Saint Dorothy, The Presentation of the Virgin at the Temple, Madonna and Child with Saints Luke and Catherine of Alexandria, https://en.wikipedia.org/w/index.php?title=The_Feast_of_the_Gods&oldid=977669227, Collections of the National Gallery of Art, Paintings commissioned for the camerini d'alabastro, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License. The original was commissioned by Alfonso d’Este, Duke of Ferrara, for his private study (‘camerino’) in the palace complex at Ferrara. [15] If he is still Neptune, this would make her Amphitrite. imagine the Duke in his study, looking at these gods, these Olympian gods enjoying the pleasures of earthly life. 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. Please refer to the, 223,585,439 stock photos, vectors and videos, https://www.alamy.com/licenses-and-pricing/?v=1, https://www.alamy.com/stock-photo-the-feast-of-the-gods-giovanni-bellini-and-titian-1514-1529-national-174925407.html. Completed in 1514, it was his last major work. By the beginning of the 1470s Giovanni Bellini was generally recognised as the city’s leading painter of altarpieces and of smaller devotional works. Plesters, J. Florentine tradition on one hand- Dr. Harris: On the north and National Gallery of Art, Washington, D.C. [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. Donate or volunteer today! [22], Titian's landscape to the left of the painting, The pheasant may have been painted by Duke Alfonso, The label on the tub bears Bellini's name and the date 1514, All have entries in Jaffé, with 3 of the Dossi's, 101–111, Spangenberg, 56; the print is an engraving by. FOR CENTURIES these questions remained unanswered. The Feast of the Gods was Giovanni Bellini's last great painting and one of only a few that he executed on canvas. and there's nothing stiff about the composition. You will be able to seamlessly ‘Favourite’ images and download large images for personal use. the Duke of Ferrara, so this is - Dr. Zucker: Adesti. From National Gallery of Art, Washington, D.C., Giovanni Bellini, Titian, The Feast of the Gods (1514/1529), Oil on canvas, 67 × 74 in [10] A pheasant in a tree on the right, above Priapus, may have been painted by Alfonso himself, an amateur painter. This is a full-size, accurate copy of one of the great achievements of Bellini’s last years, 'The Feast of the Gods’ of 1514 (Washington, National Gallery of Art). [5] The story is shown at the edges of the composition, in a somewhat undramatic fashion presumably showing a moment shortly before the key incident, with Silenus and his ass at left and Priapus and Lotis at right (and everyone but Lotis still wide awake). It is now thought that the figures are as originally painted by Bellini. The group was separated in 1623, and the Feast left the Aldobrandini family in 1796–97, passing to the Camuccini family. It is now in the National Gallery of Art in Washington D.C., which calls it "one of the greatest Renaissance paintings in the United States". The work is atypical of Renaissance mythological painting in the down to earth treatment of the main deities, which may be accounted for by the figures beginning as ordinary citizens of Thebes, and by Bellini's inexperience in the emerging conventions of mythological art.

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