Bellini an Madonna with child and pear

You were describing two paintings by Giovanni Balenie there a Madonna with child and there’s a pair in both of these competitions there’s a pair in one of them is it it’s held by the Christ child and in the other it there’s a pair sitting on a table or some obscuring piece of architecture in the foreground which is featured in the other painting to just without the pair resting on it.  Both of these paintings or oil on wood oil we understand found its way from the Flemish tradition into venetian paining otherwise paining was predominantly done in tempura. Both of these paintings or take offs of the furniture edition in the realism.; The  landscape seems observed the class seems observed, certainly the portraits of the Madonna at least a CM observed and specific to a person. Also from the slimmest tradition we see a fake painted gold effect used on the edges of the draperies.  Of course that’s an a side to what’s really going on in these paintings. Well one more thing from the pharmacy listen there’s a reference communication it’s not so dramatic there’s a stoicism I’m looking especially at the ladies painted madonna of the 1480s where she’s looking directly at the viewer,; it’s really captivating.  I’m also looking at the landscape and thinking of it in Flemish terms and I believe that’s because of the observed quality of the receding is the recession of space. OK moving on and I am departing from the Flemish this carries many venetian qualities, namely that the local colors are  elaborated on in a way that turns the forms there’s a sense of colored lights and color shadow there is variation and saturation as a form of turns in space.  We sensed that the design or the design you has been put there a process where the dryer is liable to be changed on the basis of the composition in someway needing it.  As is typical in the nation paining which Barnes kind of sums up is that high water mark of representational painting spaces that expressed in volumetric solids affected by the atmosphere of light or the light of atmosphere whatever. OK so let’s get into what the difference between one painting and the other.  The one of these to mom in which madonna looks straight out of the viewer arm is posited to have been painted and 1480s sometime it follows a clear interior exterior scheme as we’ve seen so many times in the byzantine tradition. We’ve seen it in the Florentine tradition, in the CNEs tradition.   Well it’s positive that the light kind of envelops the figure we can see actually in his paintings that some liberalities are applied in terms of value it’s an oversimplification to set these paintings are light that there’s light permeating I think more truthfully it’s a selective permeation of the light envelope. You know what I’m trying to say is that the first hands are glowing I mean these figures are yeah you would say and valves by light but we look you know at what they’re glowing  in relation to NBC dark fabric dart DART fabric. You know with that way we can say that what is the nation about that dark dark fabric that it has a clear color identity it’s dark dark blue it’s not just dark dark next to it is a dark dark red there’s a band of a goldish color from an architectural feature that goes across the foreground and blow that is a dark dark brown . In this way definitions merch drawing with color and I think in that way we can say yes this now we’re painting now we’ve moved on from illustrating. Now her looking. Continuing on this older painting of the Madonna and Child and it’s clearly mostly interior there’s kind of a window of the exterior and the exists on the left-hand side Of the paining in which we see a city in the nearest background you know maybe it’s a half a mile or a quarter-mile away I’m behind some fields. Add the sky on this day as depicted by Balenie is you know pretty clear it looks like there’s morning light in that the bottom side of one of the clouds is yellow.  OK that’s most of it we can say one more thing and that is that you know Christ looks like kind of static here. Before we move onto the latter paining we can just imagine if you know someone mentioned to Balenie like you know hey what’s wrong with you you’re a Christ figure and then we fast forward baby eight years and the lady sits in front of the blank canvas And he says God dammit not again I’m gonna be crazed you know not look like I did before. OK so we’re moving onto the latter paying the inAnd he says God dammit not again I’m gonna be crazed you know not look like I did before. OK so we’re moving onto the latter being the one painted in 1488 it is Madonna and child with a pair.  The composition is radical that the Madonna and Child sit in the center of the frame there’s this huge | that divides the paining into what takes about half of the space horizontally but it’s pretty central. To the right of this | is a landscape you know we can see a cloud we can seahorses we can see a field. To the right of this | is we presumed the same landscape but the | of scares so much it’s it’s hard to say and we really have to ,  I mean naturally as humans we bridge the gap and we say yeah that’s the same space and the colors are so similar but otherwise the other things in them right landscape that are different from the left and we can imagine Balenie having a good time with these kind of to landscapes. Here in the bottom receive the ladies signature it’s him not kind of inscribed on the architectural element on the rather it’s clearly written on a piece of paper and then pasted your this is all trompe l’oeil but applied to the architectural  kind of like a tag. Like a name tag. Madonna looks directly at the child she looks a little bit like if you know what young mother. There’s a clear sense of humanism that this paining and I think it has to do with Madonna‘s expression as she looks down upon this young Christ who also he looks kind of mischievous he looks kind of fidgety not as static as the Laneys other Christ child. Are the big  saying in this paining is at the Paris set down onto the kind of banister rail thing that goes in front your price is no longer holding the pair I don’t know the significance of that but it’s a large differentiating feature between these paintings that alongside you know where my daughter is looking. Yeah if we squint we can kind of imagine some kind of across compositionally that’s happening in this like a crucifix.  And that’s most of it I mean I guess we could mention that in venetian paining there are these kind of doubt the old towns in the flash and that’s that’s happening here it’s happening mostly in the 1488 fortune of Madonna him and her cheeks we can kind of see some modeled you know pinks and reds same with in Christ cheeks and that is making them look especially flashy. Flashy.