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By Enzo Colotti, Riccardo Mariani
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Musée Royal des Beaux-Arts, Brussels. flattened landscape. The original colouration of the Davis Madonna has been damaged by the loss of lapis lazuli from the cape, which now appears a pale, whitish blue. Mantegna, a master of figural representation, was fond of the extreme difficulties involved in depicting figures in unusual positions and extreme foreshortening. Markedly foreshortened figures are also found in the drawing books of Jacopo Bellini. Around 1460 Giovanni Bellini made two attempts to compete with Mantegna in this area.
Above the balustrade, the landscape begins without a transitional zone and extends broadly all the way into the distance. On the left-hand side lies a fortified town with towers, while on the right appears the stump of a column set on a base, as well as a ruin and a hermit. This preoccupation with motifs from antiquity, restricted here to a pair of classical reliefs, was not pursued further by Bellini, although it was and remained Mantegna’s great theme. So far as depictions of the nude are concerned, Bellini was clearly incapable of competing with Mantegna.
1 In 1459 Mantegna entered the service of Ludovico Gonzaga, marchese of Mantua, moving to Mantua in 1460 as court painter and successor to Pisanello. The younger Bellini’s preoccupation with the art of his brother-in-law, several years his senior, became especially intense towards the end of the 1450s, and pertained predominantly in the depiction of figures and the expression of emotions. In the 1460s Bellini took up the new pictorial genre of Mantegna, and may have executed a small painting on parchment after one of his prototypes.