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An investigation into the overlapping cultures of East and West in Renaissance Venice through the work of the supremely talented Bellini family
In 1479, the Venetian painter Gentile Bellini arrived at the Ottoman court in Istanbul, where he produced his celebrated portrait of Sultan Mehmed II. An important moment of cultural diplomacy, this was the first of many intriguing episodes in the picture's history. Elizabeth Rodini traces Gentile's portrait from Mehmed's court to the Venetian lagoon, from the railway stations of war-torn Europe to the walls of London's National Gallery, exploring its life as a painting and its afterlife as a famous, often puzzling image. Rediscovered by the archaeologist Austen Henry Layard at the height of Orientalist outlooks in Britain, the picture was also the subject of a lawsuit over what defines a “portrait”; it was claimed by Italians seeking to hold onto national patrimony around 1900; and it starred in a solo exhibition in Istanbul in 1999. Rodini's focused inquiry also ranges broadly, considering the nature of historical evidence, the shifting status of authenticity and verisimilitude, and the contemporary political resonance of Old Master paintings. Told as an object biography and imagined as an exploration of art historical methodologies, this book situates Gentile's portrait in evolving dialogues between East and West, uncovering the many and varied ways that objects construct meaning.
From 828, when Venetian merchants carried home from Alexandria the stolen relics of St. Mark, to the fall of the Venetian Republic to Napoleon in 1797, the visual arts in Venice were dramatically influenced by Islamic art. Because of its strategic location on the Mediterranean, Venice had long imported objects from the Near East through channels of trade, and it flourished during this particular period as a commercial, political, and diplomatic hub. This monumental book examines Venice's rise as the "bazaar of Europe" and how and why the city absorbed artistic and cultural ideas that originated in the Islamic world. Venice and the Islamic World, 828–1797 features a wide range of fascinating images and objects, including paintings and drawings by familiar Venetian artists such as Bellini, Carpaccio, and Tiepolo; beautiful Persian and Ottoman miniatures; and inlaid metalwork, ceramics, lacquer ware, gilded and enameled glass, textiles, and carpets made in the Serene Republic and the Mamluk, Ottoman, and Safavid Empires. Together these exquisite objects illuminate the ways Islamic art inspired Venetian artists, while also highlighting Venice's own views toward its neighboring region. Fascinating essays by distinguished scholars and conservators offer new historical and technical insights into this unique artistic relationship between East and West.
Presents a survey of sixty Venetian Renaissance paintings of the calibre of Bellini and Titian's "Feast of the Gods" in Washington and Giorgione's "Laura and Three Philosophers" in Vienna.
Catalog of an exhibition held at the Metropolitan Museum of Art, New York, May 15-Sept. 3, 2012.
Investigator Yashim travels to Venice in the latest installment of the Edgar® Award–winning author Jason Goodwin's captivating historical mystery series Jason Goodwin's first Yashim mystery, The Janissary Tree, brought home the Edgar® Award for Best Novel. His follow-up, The Snake Stone, more than lived up to expectations and was hailed by Marilyn Stasio in The New York Times Book Review as "a magic carpet ride to the most exotic place on earth." Now, in The Bellini Card, Jason Goodwin takes us back into his "intelligent, gorgeous and evocative" (The Independent on Sunday) world, as dazzling as a hall of mirrors and utterly compelling. Istanbul, 1840: the new sultan, Abdülmecid, has heard a rumor that Bellini's vanished masterpiece, a portrait of Mehmet the Conqueror, may have resurfaced in Venice. Yashim, our eunuch detective, is promptly asked to investigate, but -- aware that the sultan's advisers are against any extravagant repurchase of the painting -- decides to deploy his disempowered Polish ambassador friend, Palewski, to visit Venice in his stead. Palewski arrives in disguise in down-and-out Venice, where a killer is at large as dealers, faded aristocrats, and other unknown factions seek to uncover the whereabouts of the missing Bellini. But is it the Bellini itself that endangers all, or something associated with its original loss? And why is it that all the killer's victims are somehow tied to the alluring Contessa d'Aspi d'Istria? Will the Austrians unmask Palewski, or will the killer find him first? Only Yashim can uncover the truth behind the manifold mysteries.
"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.
Published in conjunction with an exhibition held at the Bode-Museum, Berlin, Aug. 25-Nov. 20, 2011, and at the Metropolitan Museum of Art, New York, Dec. 21, 2011-Mar. 18, 2012.
This charmingly inventive, deliciously improbable seriocomic novel opens at eleven o'clock in the morning of July 14 in the year 2000 on the Avenue d'Angleterre in Beirut. Private George Smith of the American Peace-Keeping Forces in Lebanon is breathlessly chasing a hand grenade--which he threw in the line of duty--down the street. It seems he forgot to pull the pin. At that very moment, one Heloise Svejk is crossing the street from east to west, bearing an empty coffin on her shoulder. From this unlikely encounter is born one of the great love stories of the first year of the twenty-first century, not completely unworthy of that of Heloise's namesake nine centuries earlier. Private Smith is a reasonably sane soldier, as sane at least as any oversized American of mixed Swedish and Austro-Hungarian descent from Alabama who has not been with a beautiful for two years can be. Now Smith knows, inevitably and irrevocably, why fate has posted him to this godforsaken city. He disappears with Heloise for all the right reasons, but for General Custer, Private Smith's commanding officer, when you're gone for five days you're gone for good, fellow, and Washington is so informed. When news spreads that Smith is not dead but only hopelessly in love, the plot does not merely thicken but gets downright sticky. What will Custer tell the President? What will he tell George's next of kin, and how will he get back the posthumous award for unusual bravery he sent her? And yes, what about this Heloise they are all drooling over? In page after page, chapter after chapter, these and countless other cosmic questions are discussed and dealt with--with mixed results, as the author is quick to point out. Interspersed with the chapters are intermezzi in which the author muses and comments on George, Heloise, life, love, Harry's Bar, his father Giuseppe, peach nectar and champagne cocktails (aka "bellinis"), and Cousin Wanda--not to mention Abelard himself, the inquisitive, inflexible, and highly unimaginative friend of the author to whom the intermezzi are addressed.