Bellini

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Bel·li·ni

(bĕ-lē'nē),
Lorenzo, Italian physician and anatomist, 1643-1704. See: Bellini ducts, Bellini ligament.
References in periodicals archive ?
On the attributions to Mantegna or Giovanni Bellini of the Strabo manuscript in Albi, see The Painted Page, cat.
Not surprisingly, the two lumi of this journal have, more recently, contributed brief but perceptive essays on aspects of Fry's legacy (see Hilton Kramer's afterword to Fry's Giovanni Bellini and Roger Kimball's essay on Fry in Art's Prospect).
He commissioned Giovanni Bellini to paint The Feast of the Gods (Washington National Gallery) in 1514 to commemorate his marriage to Lucrezia twelve years previously.
Nichols discerns the painter's strident individualism throughout his career, from his early efforts to break with his master, Giovanni Bellini, to his formal experiments with the classical altarpiece and, ultimately, in his inimitable late style.
The youth, not given to the more erotic vein of Petrarchan lyrics, shifted the tradition of paired sonnets inspired by artists (Simone Martini in the case of Petrarch, Giovanni Bellini in the case of Bembo, and Titian in the case of Della Casa) from contemporary female portraits to a sculpture on a Roman historical theme, not surprising given Rimbotti's eventual ecclesiastical vocation.
He is nevertheless regarded as one of the most innovative artists of his time, forming a link in the development of the Venetian School between Giovanni Bellini (whose earliest known painting, coincidentally, is in the Barber Institute collection) and Titian.
Ader never provided any explanation for this dramatically portrayed breakdown, though he did name as a historical precedent for his tears the melodrama of the Renaissance, as in certain works by Rogier van der Weyden or Giovanni Bellini, as well as the grieving women in Picasso's Guernica.
Comprised of only forty or so paintings, a number that includes a trio of pictures by Dosso Dossi and collaborations with Giovanni Bellini and Jacopo Palma il Vecchio, "Titian" is less extensive an exhibition than one might have hoped for.
After Alfonso had persuaded Giovanni Bellini and Titian to work for him as visiting artists but failed to retain them in his provincial corner of Italy, he decided to exploit local talent and so established a further regional school of painting, which included Garofalo and Ortolano (well represented at the London National Gallery) and, surpassing and dominating the others, the native Ferrarese citizen, Dosso Dossi, son of one of his father's palace officials.
Like that work, the portrait reveals the artist's profound study of the work of Giovanni Bellini in its sense of seriousness and repose.
Other artists like Giovanni Bellini and Sebastiano also figure prominently.
The first grouping assembles luminous portraits in oil, executed between about 1450 and 1500 by Giovanni Bellini, Antonello da Messina, Lorenzo Lotto, and Hans Memling, plus one attributed to Petrus Christus and one by a follower of Jan van Eyck.