presentation at the temple (bellini)

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Sharing Guy's Journey

Thoughts, comments, observations, reactions, enthusiasms

Bellini and Mantegna: Two Versions of The Presentation at the Temple

July 9, 2018 By Guy St. Clair

A Fascinating Experience for the Layman

In one of my favorite literary works – Evelyn Waugh’s Brideshead Revisited  – when the two young men arrive in Venice to visit Sebastian’s father, Lord Marchmain asks them what they want to do while they are in Venice. Charles, a budding artist, says he would like to see some paintings.

“Oh,” Lord Marchmain says, “Which artists?”

Charles responds that he would like to see Bellini, and Lord Marchmain asks, “Which one?”

“I didn’t know there were two,” Charles says.

“There are three,” Lord Marchmain says. “Painting was very much a family business in those days.”

Indeed it was. Jacopo Bellini and his two sons, Giovanni and Gentile, are all closely associated with the Venetian Renaissance. Recently I had a truly fascinating experience of seeing two great paintings of the Renaissance – one by Giovanni – in an exhibition at the Fondazione Querini Stampalia in Venice, two paintings of the same subject by two different artists. The subject was  The Presentation at the Temple , and the artists were Andrea Mantegna and Giovanni Bellini (his brother-in-law). So painting really was a family affair in those days.

Since “fascinating” was the term used in a reference in the public relations notes from the Querini Stampalia, where the exhibition took place from March 21 through June of this year, I’ll use it as well. It’s the best word for describing the experience of seeing these two works together. They go next to the National Gallery in London (October 1st) and then to the Gemäldegalerie in Berlin (March 1, 2019). For any friends and colleagues living in London or Berlin (or thinking of visiting those two very special cities), I can’t do better than to encourage a look at this fascinating exhibition.

As a true amateur when it comes to viewing works of art, I have a good time but I would never consider myself any sort of scholar or professional. I tend to think of myself as an interested viewer, perhaps in the earlier sense of “amateur,” i.e.,  I enjoy looking at pictures. I am only what might be referred to as a person described with the 17th- or 18th-century French usage of the term  amateur  – “one who loves, a lover of….” But don’t worry, that doesn’t stop me from enjoying myself when I see something I like, and my visit to the Querini Stampalia was one such experience.

I will probably never forget this display of the two works, put together for the first time. And it was an experience perhaps a little enhanced by my recent reading of Walter Isaacson’s  Leonardo da Vinci , possibly one of the most fascinating (using the word intentionally) books I’ve ever read. I loved it, I learned a lot, and it was a splendid introduction to Renaissance painting for an amateur like myself. It was specially fun to think about – when viewing the two paintings – how Leonardo, coming a little later (born about 1452), knew about and might even have been influenced by both Giovanni Bellini and Andrea Mantegna.

One of the more interesting elements of the visit to the Querini Stampalia was learning about the site, the Palazzo Querini Stampalia, commissioned in the 16th century by the descendants of the old Querini family. One item on display by the foundation is the family’s written art inventory, including these pages from 1809. It listed the ownership of Bellini’s painting, at the time attributed to Andrea Mantegna.

Giovanni – sometimes referred to as “Giambellino” – was born about 1430 and Mantegna about a year later. Certainly the two artists knew one another, for they were brothers-in-law, with Mantegna marrying Giovanni’s sister Nicolosia and becoming part of the Bellini family in 1453, the family that according to some sources was running “one of the most important painting workshops in Venice.”

The workshop had been organized by Jacopo Bellini, the father of the great Bellini family often spoken of as the being largely responsible for introducing the Renaissance style into Venetian painting. And, since Giovanni Bellini and Andrea Mantegna obviously knew each other and, indeed, are purported to have shared their different expertise with one another (as well as studying classical antiquity together), it’s not a surprise that each artist depicted the same story in a painting. What is surprising is that they did it at different times, about a decade apart, according to one of the curators of this exhibition. That, too, brings up a fascinating question: Why, do we wonder, did Giovanni take up a subject that had already been dealt with so well by his brother-in-law? We don’t know, but with Mantega being from the Padua region and primarily focused on large religious paintings and Giovanni Bellini – a Venetian – seemingly best known for the excellence of his portraits, there’s much to think about.

The exhibition is curated by Brigit Blass-Simmen, Neville Rowley, and Giovanni Carlo Federico Villa. A quotation from exhibition co-curator Giovanni Carlo Federico Villa helps explain:  “…it would be wrong to think of them standing next to each other as they painted the same subject. Undoubtedly the cartoon, whose creation required great artistic virtuosity, ‘bewitched both of them, but a considerable arc of time – about a decade – separates the two masterpieces’.” And his note is followed by a delightful query in the pamphlet that accompanies the exhibition: “At first glance they look completely alike, and yet you understand that the two mirror-works have ‘completely different personalities’. But who came up with the marvellous composition?”

Wouldn’t we all love to know the answer to that question? As for me, I can only respond by describing some of what I saw. I had a very good first impression of the exhibition (installed by architect Mario Bottra) as I walked through the three rooms of the brilliantly prepared display – including two rooms of floor-to-ceiling large-type legends describing the history of the two paintings. These included as well what must have been of very special interest to art professionals and technology specialists, a long and very well-written (and well-illustrated) description of the restoration process for the paintings and the reflectography and x-radiography analyses that enhanced our understanding of their history.

Other things I noticed were what only a true amateur would pay attention to. For one thing, to my eye the Mantegna appears to be a darker painting, and I can’t help but be curious about whether that was intentional, on either artist’s part, but in particular with Bellini at the later date, perhaps deciding that he wanted a lighter, less ponderous depiction of this critical event in the New Testament story. Another observation I had fun with was that Mantegna – well known for his religious works – shows the holy people with halos and the precious Infant with an aureole, a symbol of divinity. These are lacking in Bellini’s work. And in both paintings (and in many others of course) I’m always a little nervous about seeing an infant in swaddling clothes. Isn’t that too uncomfortable for the child? As for the older people in the picture, having read Isaacson on Leonardo, the quality and thickness of the elderly Simon’s beard is noticeable in both paintings, but in a different way. Mantegna uses an established style in which – if I may be permitted an anachronism – it looks a curling iron was used on the beard. Bellini, however, has presented an equally long but more natural-looking beard. And one of the more striking details is very obvious in the Bellini but less so in the Mantega, the tradition (so I’ve been told) of the artist in a self portrait looking out at the viewer. If that is the case with Bellini’s painting, the figure seems about right, as it depicts a man who could have been about 39 years old. We don’t see such an image in the Mantegna, although the man on the far right of the painting could have been in his mid- to late-twenties or even a few years older, which would have been Mantegna’s approximate age at the time he did the painting. But he is not looking directly at the viewer, so the artist-looking-at-the-viewer construct might not work in this case.

As for the success of the exhibition, Marigusta Lazzari, the director of the Querini Stampalia, tells a little of the story, noting that the exhibition is “the result of one of those alchemies that happen every now then in history.” In this case, “the impossible has become possible after our complex negotiations came to a happy conclusion, leading us to loan our Bellini for the major Andrea Mantegna and Giovanni Bellini exhibition, which opens at the National Gallery in London on 1 October 2018 before transferring to the Gemäldegalerie in Berlin on 1 March 2019. The comparison between the two Presentation at the Temple paintings is one of the cardinal points of these exhibitions. The Berlin institute has reciprocated our loan with one of its own and thus we are thrilled to finally present the two masterpieces side by side at the Querini to an Italian and international public before the London exhibition.”

[Photographs by Andrew Berner.]

Guy St. Clair is a writer and editor living in New York City. In his blog,  Sharing Guy’s Journey , he  writes about any subject that crosses his mind (some friends refer to the blog as “Guy’s online journal”).  In his professional life, Guy is the Series Editor for Knowledge Services for De Gruyter Saur in Munich and Berlin. 

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Presentation at the Temple   1460

by Giovanni Bellini

Contributed by

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Presentation at the Temple (Bellini) explained

The Presentation at the Temple is a painting of the Presentation of Jesus at the Temple by the Italian master Giovanni Bellini , dating to c. 1460. It is housed in the Fondazione Querini Stampalia , in Venice, Italy.

The dating of the work is uncertain, though it is usually considered to be subsequent to the Presentation at the Temple by Andrea Mantegna (Berlin, c. 1455), from which Bellini took a very similar placement of the figures.

The commission of the two works is unknown, as well as if the figures, as is sometimes suggested, portrayed members of the Mantegna and Bellini families.

Description and style

The main characters are nearly the same as those in Mantegna's work: the Virgin is holding the Child, whose feet are lying on a cushion, while the bearded figure of Simeon is coming to take him. In the front is Saint Joseph , which, according to some scholars, would be a portrait of Bellini's father, Jacopo . On the sides the painter added two further figures, which make the picture rather crowded. Apart his father, other identifications include the author's self-portrait and Mantegna (or his brother Gentile Bellini ) for the two men on the right; and Nicolosia, sister of Giovanni and Gentile, and wife of Mantegna, together with their mother Anna for the women on the left.

Bellini also replaced Mantegna's bronze frame with a parapet, making the characters nearer to the observer, and omitted their haloes .

• Book: Olivari, Mariolina . Giovanni Bellini. Pittori del Rinascimento. Scala. Florence. 2007. 888117099X.

External links

• Gemäldegalerie Berlin, Mantegna+Bellini, invention or imitation

This article is licensed under the GNU Free Documentation License . It uses material from the Wikipedia article " Presentation at the Temple (Bellini) ".

Except where otherwise indicated, Everything.Explained.Today is © Copyright 2009-2024, A B Cryer, All Rights Reserved. Cookie policy .

Category : Presentation of Jesus at the Temple by Giovanni Bellini

Media in category "presentation of jesus at the temple by giovanni bellini".

The following 18 files are in this category, out of 18 total.

• Paintings of Jesus Christ by Giovanni Bellini
• 1450s religious paintings
• 1459 paintings
• Judaism in Venice
• Paintings by Giovanni Bellini by title
• Paintings by Giovanni Bellini in Venice
• Paintings of the presentation of Jesus Christ at the Temple in Italy
• Pinacoteca Querini Stampalia (Venice) - Paintings
• 15th-century paintings of Madonna and Child by Giovanni Bellini
• Swaddling in paintings (infant Jesus)
• Paintings by Giovanni Bellini in the Pinacoteca Querini Stampalia (Venice)
• Uses of Wikidata Infobox
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Presentation at the Temple

• Andrea Mantegna

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Presentation at the Temple is an example of Andrea Mantegna's early work, from his time in Padua. The exact date of the early Renaissance painting is unknown, but estimates vary from 1453 to 1460.

During this time, Mantegna allied himself through marriage to the artist Giovanni Bellini , who subsequently produced a very similar painting also titled Presentation at the Temple. Comparison of the two paintings illustrates Mantegna's skill at using light and shadow to produce depth and perspective in his work. The painting is on wood, in the artist's preferred medium of tempera on canvas. The scene is surrounded by a marble frame, with the Virgin Mary in the foreground holding the Christ child. A bearded priest is reaching for the infant, with Joseph in the centre of the scene looking on. The marble ledge at the bottom of the painting is used as a device to bridge the space between the subjects and the viewer.

Mantegna uses his favoured technique of trompe l'oeil to make Mary's arm, and the cushion on which the Christ child rests, appear to thrust out of the painting. This serves to emphasise the space and depth behind the group, as well as thrusting the child into the viewers space. Here we can also see a more subtle example of Mantegna's skill with perspective and foreshortening, as the infant Christ is seen at an angle, leaning back towards the background. The Virgin Mary, the priest, Joseph and the Child all have an aureola, indicating their status as sacred figures. There is strong belief that, in the figure emerging from the shadow to the right of the painting, Mantegna has painted himself. Artists have done this occasionally over the centuries, although they would often leave a little room for discussion by not explicitly telling anyone of their own inclusion, leaving the rest of us to debate it.

The woman to the far left is believed to be his wife, Nicolosia Bellini. These two figures have no aureola, as they are not sacred, and appear to play no part in the scene, instead looking to the distant left. The painting will be on loan to the National Gallery in London from March to July 2018, where it will displayed alongside the work of the same name by his brother in law, Giovanni Bellini, allowing visitors to directly compare these two remarkable works of art. After July, the Mantegna painting will return to it's home in the Gemäldegalerie in Berlin, Germany. That fine establishment features one of the finest collections in all of Europe and is particularly strong on local artists, from the nation of Germany and also some surrounding countries such as the Netherlands, Belgium and Switzerland who have each contributed some important artists of their own in previous centuries.

Article Author

Tom Gurney in an art history expert. He received a BSc (Hons) degree from Salford University, UK, and has also studied famous artists and art movements for over 20 years. Tom has also published a number of books related to art history and continues to contribute to a number of different art websites. You can read more on Tom Gurney here.

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About: Presentation at the Temple (Bellini)

The Presentation at the Temple is a painting of the Presentation of Jesus at the Temple by the Italian master Giovanni Bellini, dating to c. 1460. It is housed in the Fondazione Querini Stampalia, in Venice, Italy.

The Satanic Temple plans to place ministers in Oklahoma schools if new bill becomes law

by ALEXANDRA SHARFMAN | KTUL

TULSA, Okla. (KTUL) — The Satanic Temple (TST) announced its plans to have ministers in public schools across Oklahoma after the state House passed Senate Bill 36.

The measure would allow volunteer chaplains in public schools. However, there are some strings attached.

Districts must conduct background checks, and cannot employ a chaplain who is a registered sex offender or convicted of a felony offense.

The chaplain can also be dismissed for mental or physical abuse to a child, negligent endangerment, or an act of moral turpitude

If the bill passes through the Senate, it would take effect Nov. 1.

TST said it has expressed a dedication to religious plurality and community service.

While we would prefer states to invest in professional counselors over unlicensed religious support for students, we are prepared to adapt to these legislative conditions,” said Rachel Chambliss, TST’s Executive Director of Operations. “We are committed to offering compassionate guidance to students who come to us so that we can help make positive changes in their lives by listening to their needs and providing support.”

Chambliss said having TST Ministers in the state's education system would help with equal religious representation.

40 Facts About Elektrostal

Written by Lanette Mayes

Modified & Updated: 02 Mar 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

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So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

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Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

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Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

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The city is known for its well-established educational institutions, providing quality education to students of all ages.

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Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

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Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

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Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

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Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

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The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

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Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

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A: Elektrostal is located approximately XX kilometers away from Moscow.

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A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

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A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

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• Victor Mukhin

Victor M. Mukhin was born in 1946 in the town of Orsk, Russia. In 1970 he graduated the Technological Institute in Leningrad. Victor M. Mukhin was directed to work to the scientific-industrial organization "Neorganika" (Elektrostal, Moscow region) where he is working during 47 years, at present as the head of the laboratory of carbon sorbents.     Victor M. Mukhin defended a Ph. D. thesis and a doctoral thesis at the Mendeleev University of Chemical Technology of Russia (in 1979 and 1997 accordingly). Professor of Mendeleev University of Chemical Technology of Russia. Scientific interests: production, investigation and application of active carbons, technological and ecological carbon-adsorptive processes, environmental protection, production of ecologically clean food.   

Title : Active carbons as nanoporous materials for solving of environmental problems

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