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The San Giobbe Altarpiece (Italian: Pala di San Giobbe) is a c. 1487 altarpiece in oils on panel by the Venetian Renaissance painter Giovanni Bellini. Inspired by a plague outbreak in 1485, this sacra conversazione painting is unique in that it was designed in situ with the surrounding architecture of the church (a first for Bellini), and was one of the largest sacra conversazione paintings at the time. Although it was originally located in the Church of San Giobbe, Venice, it is now in the Gallerie dell'Accademia in Venice after having been stolen by Napoleon Bonaparte.

Creation
Just prior to 1478, Giovanni Bellini was commissioned to paint the altarpiece by an unknown individual from the Scuola di San Giobbe, to be placed opposite the Martini Chapel of the soon-to-be consecrated Church of San Giobbe. The friars and sisters of the San Giobbe Hospice had founded the Scuola di San Giobbe and replaced an old oratory dedicated to Job with a new church dedicated to both St. Job and St. Bernardino. This was strongly suggested by the confraternity's patron, the doge Cristoforo Moro.[1] This altarpiece marks the first time Bellini used the concept of creating an illusionary space to house a sacra conversazione that appears as though it is an extension of the church architecture itself, and honored St. Job with the position closest to the Christ child. The painting was designed in situ to incorporate the architecture of the Church of San Giobbe; the arches inside the painting match in perspective and design the marble arches of the church framing the painting.[1] Because the Church of San Giobbe did not have two chapels, only the Martini Chapel and an empty space opposite the chapel, the altarpiece was painted in order to create a space that would illusionistically balance the church with “two” chapels on either side. Hence the piece's size and detailed visual description of the perspective in fictive space was intended to serve as a second chapel, and the perspective, along with the similar framing within the painting and surrounding the painting, would give that proper illusion.

The actual patron of the painting is unknown, although it is assumed that the patron was a member of the Scuola di San Giobbe. This assumption is currently being debated, as the size and detail of this painting would warrant a large monetary compensation to Giovanni Bellini, which would be difficult for such a small church. One hypothesis is that Cristoforo Moro, who also patronized the church and influenced the rededication of the church to both St. Job and St. Bernardino, had commissioned the painting.[2]

The piece, although having no textual proof of exact completion date, was recorded as being complete in the newly consecrated Church of San Giobbe by 1493. The Venetian scholar Marcus Antonio wrote about the piece in its completed form in his “De Venetae Urbis Situ” (A written guide to Venice), and Venetian historian Marin Sanudo had included a comment about the piece’s beauty in a list of Venice’s holy sites, both written in 1493, marking that year the very latest possible date of completion.[2]

Although Giovanni Bellini's cursive signature has come into question and had often been used by imitators, this piece is widely accepted to be Bellini's. His signature is on a plaque just below the feet of the middle musician angel and is in an italic form, "Ioannes Bellinus", which was seldom used by imitators.[3]

Provenance
The altarpiece remained in the church of San Giobbe until 1814–1818,[4] until Napoleon Bonaparte, during his ransacking of Venice, stole this piece, along with many others. Eventually it was returned to its city of origin, but was given to the Galleria dell'Accademia in Venice, where it is displayed with the other altarpieces from the Church of San Giobbe.[5]