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Updated: June 3, 2025
Like most of the other great painters, Giovanni Bellini had many pupils working under him boys who helped their master, and learned their lessons by watching him work. Among these pupils was a boy called Vittore Carpaccio, a sharp, clever lad, with keen bright eyes which noticed everything.
If Carpaccio was the greatest pupil of Gentile Bellini, in Giorgione we see the first of those marvellous painters who were taught their art by his brother Giovanni. Giorgio Barbarelli, called Giorgione, was born at Castelfranco, a little town in the hills not far from Padua, in 1478.
There was one beautiful woman, a red blonde in a green velvet gown, who might have ridden, as she was, out of a canvas of Titian's, if he had ever painted equestrian pictures, and who at any rate was an excellent Carpaccio.
I have looked again and again at nearly every painting of note in Venice, having a foolish shame to miss a single one, and having also a better wish to learn something of the beautiful from them; but at last I must say, that, while I wondered at the greatness of some, and tried to wonder at the greatness of others, the only paintings which gave me genuine and hearty pleasure were those of Bellini, Carpaccio, and a few others of that school and time.
While Carpaccio has treated the historic scene in a poetic way, with quaint formality, Bellini's picture is full of truth and detail. "But," he continued, "Gentile Bellini's work, as art, fades in importance before that of his brother, Giovanni, who gave himself almost wholly to religious painting.
At the time when Carpaccio and Gentile Bellini were painting those handsome youths in tight jackets, parti-coloured hose, and little round caps placed awry upon their shocks of well-combed hair, there lived in Venice two noblemen, Messer Pietro and Messer Paolo, whose palaces fronted each other on the Grand Canal.
But it is not difficult to restore the many-hued Venice out of which its painters sprang. There are two pictures by Carpaccio in the Accademia which bring back vividly its physical aspect. The scene of the first, the 'Miracle of the Patriarch of Grado' as it is called, lies on the Grand Canal immediately in front of the Rialto.
Perhaps it is an unexplained consciousness of being nearer God, or being nearer the devil of approaching truth or approaching unreality a silent something felt in the truth-of-nature in Turner against the truth-of-art in Botticelli, or in the fine thinking of Ruskin against the fine soundings of Kipling, or in the wide expanse of Titian against the narrow-expanse of Carpaccio, or in some such distinction that Pope sees between what he calls Homer's "invention" and Virgil's "judgment" apparently an inspired imagination against an artistic care, a sense of the difference, perhaps, between Dr.
"Here are two or three historical pictures by Carpaccio and Gentile Bellini that put ancient Venice before our eyes, and, on this account, are most interesting. Their color is fine, but in all other art qualities they are weak." "I must tell you," he went on, "about the Bellini brothers, Gentile and Giovanni.
What the Vivarini began, the three Bellini, with Crivelli, Carpaccio, Mansueti, Basaiti, Catena, Cima da Conegliano, Bissolo, Cordegliaghi, continued.
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