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= Jacopo Bellini = Jacopo Bellini (c. 1400 – c. 1470) was one of the founders of the Renaissance style of painting in Venice and northern Italy. His sons Gentile and Giovanni Bellini, and his son-in-law Andrea Mantegna, were also famous painters.

Few of Bellini's paintings still exist, but his surviving sketch-books (one in the British Museum and one in the Louvre) show an interest in landscape and elaborate architectural design. His surviving works show how he accommodated linear perspective to the decorative patterns and rich colors of Venetian painting. ""He is one of the earliest well known artists of the Venetian Renaissance, mixing both earlier Gothic influences and more recent Italian Renaissance styles.""

Biography
Born in Venice, Jacopo had probably been a pupil of Gentile da Fabriano, who was then in Venice. In 1411–1412 he was in Foligno, where with Gentile he worked at the Palazzo Trinci frescoes. In 1423 Bellini was in Florence, where he knew the new works by Brunelleschi, Donatello, Masolino da Panicale and Masaccio. In 1424 he opened a workshop in Venice, which he ran right up until his death, and which trained his sons and other artists.

Many of his greatest works, including the enormous Crucifixion in the cathedral of Verona (1436), have disappeared. From c. 1430 is the panel with Madonna and Child, in the Accademia Carrara, once attributed to Gentile da Fabriano. In 1441, at Ferrara, where he was at the service of Leonello d'Este together with Leon Battista Alberti, he executed a portrait of that Marquess, now lost. ""This lost portrait was painted in a competition with Pisanello, another Renaissance painter. Bellini's portrait won this competition, but Pisanello's is the only one that still survives."" Of this period survives the Madonna dell'Umiltà, probably commissioned by one of the brothers of Leonello.

""Gentile da Fabriano's influence can be seen in much of Bellini's work, such as his Annunciation (1444). The International Gothic style of his former trainer can be found in the coloring of the painting. The scene of the piece is very dark, with the exception of the gold of Gabriel and Mary's robes. The use of one point perspective with the drapes in the background also shows Bellini's interest in space within the painting. The technique, Florentine in origin, likely came into Bellini's skillset through his interactions with courtiers in the northern Italian city of Ferrara, as it is not known if he had ever been to Florence himself. This study of perspective is also shown extensively in his sketchbooks.""

""Since much of Jacopo Bellini's oeuvre has been lost, he is often remembered for his two sketchbooks, currently stored in the Louvre and the British Museum. Within these two volumes, there are 220 drawings. The purpose of these books has been somewhat of a mystery, as it is uncommon for an artist of this period to have put such elaborate drawings in a personal reference book. In the past, there was some scholarly debate about the origins and organization of the sketchbooks, about which one was created first, and whether or not the books are their original format. It is likely that these books are the original format that these drawings appeared in, and were drawn sequentially. Recent research has also shown that the Paris sketchbook was created before the London sketchbook, the former being from between the 1430s and the 1450s, and the latter from the 1450s to the 1460s. ""

""Will include more about sketchbooks in following paragraphs, include antiquarianism of his work, mythological/classical/gothic themes, perspective and spatial use, some noteworthy sketches that have been mentioned the most in my sources. Will also probably separate 'Books of Drawings' into its own section, as they are his most frequently mentioned pieces. Will also comb through more of my sources that I have put in my bibliography, and try to do further research about other biography matters. Also will fix References/Sources/External Links section""

The influence from Masolino da Panicale towards more modern, early Renaissance themes is visible in the Madonna with Child (dated 1448) in the Pinacoteca di Brera: for the first time, perspective is present and the figure are more monumental. Later he contributed with works now lost to the Venetian churches of San Giovanni Evangelista (1452) and St. Mark (1466). From 1459 is a Madonna with Blessing Child in the Gallerie dell'Accademia.

Later he sojourned in Padua, where he trained a young Andrea Mantegna in perspective and classicist themes and where, in 1460, he finished a portrait of Erasmo Gattamelata, now lost. Of his late phase, a ruined Crucifix in the Museum of Verona and an Annunciation in the church of Sant'Alessandro of Brescia remain.

Giovanni Fontana showed Bellini a treatise on perspective.