Feast of Gods. The Feast of the Gods is an oil painting by the Italian Renaissance master Giovanni Bellini, with substantial additions in stages to the left and center landscape by Dosso Dossi and Titian.
It is one of the few mythological pictures by the Venetian artist. Completed in 1514, it was his last major work.
It is now in the National Gallery of Art in Washington D.C., which calls it one of the greatest Renaissance paintings in the United States. The painting is the first major depiction of the subject of the Feast of the Gods in Renaissance art, which was to remain in currency until the end of Northern Mannerism over a century later.
It has several similarities to another, much less sophisticated, treatment painted by the Florentine artist Bartolomeo di Giovanni in the 1490s, now in the Louvre. The painting is signed by an inscription on the fictive paper attached to the wooden tub at the lower right: joannes bellinus venetus, and his payment that year is recorded.
Based on a narrative by Ovid, it is the earliest of a cycle of paintings, all major works, on mythological subjects produced for Alfonso, I d'Este, the Duke of Ferrara, for his camerino d'alabastro in the Castello Estense, Ferrara. The subjects had been chosen by 1511, by the Renaissance humanist Mario Equicola, then working for the Duke's sister Isabella d'Este, and instructions apparently including some sketches were sen
It is one of the few mythological pictures by the Venetian artist. Completed in 1514, it was his last major work.
It is now in the National Gallery of Art in Washington D.C., which calls it one of the greatest Renaissance paintings in the United States. The painting is the first major depiction of the subject of the Feast of the Gods in Renaissance art, which was to remain in currency until the end of Northern Mannerism over a century later.
It has several similarities to another, much less sophisticated, treatment painted by the Florentine artist Bartolomeo di Giovanni in the 1490s, now in the Louvre. The painting is signed by an inscription on the fictive paper attached to the wooden tub at the lower right: joannes bellinus venetus, and his payment that year is recorded.
Based on a narrative by Ovid, it is the earliest of a cycle of paintings, all major works, on mythological subjects produced for Alfonso, I d'Este, the Duke of Ferrara, for his camerino d'alabastro in the Castello Estense, Ferrara. The subjects had been chosen by 1511, by the Renaissance humanist Mario Equicola, then working for the Duke's sister Isabella d'Este, and instructions apparently including some sketches were sen
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