Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 62 works by Jacopo Bellini in our catalogue
In short
The Aposle Peter (1430) is the Jacopo Bellini painting that draws the most eyes; the original belongs to the Staatliche Museen zu Berlin, Berlin. After it, the eye goes to Madonna and Child (1450) and Saint Anthony Abbot and Saint Bernardino of Siena (1459). Among the 62 works of Jacopo Bellini in our catalog, these 60 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
To stand before Jacopo Bellini's depiction of The Apostle Peter is to encounter not merely a portrait, but a profound moment suspended in the amber glow of the early Renaissance. This oil on wood painting, dating from 1430, immediately draws the viewer into its narrative depth. Bellini masterfully captures the gravitas and intellectual weight associated with the figure of Peter. The composition itself is a lesson in visual storytelling; every…
The year is roughly 1450, and within the bustling heart of Venice, a young artist named Jacopo Bellini was quietly revolutionizing the very fabric of painting. His “Madonna and Child,” now residing in the Uffizi Gallery, isn't merely a depiction of the Virgin Mary cradling her infant son; it’s a window into the burgeoning Renaissance spirit, a testament to Bellini’s innovative approach to perspective, color, and emotional resonance. This work…
Jacopo Bellini's “Saint Anthony Abbot and Saint Bernardino of Siena,” painted in 1459, isn’t merely a depiction of two revered saints; it’s a profound meditation on faith, the natural world, and the burgeoning spirit of Renaissance Venice. This oil-on-poplar panel, now housed within the National Gallery of Art in Washington D.C., offers a rare glimpse into a pivotal moment in Venetian art – a transition from the rigid formality of…
To stand before this depiction of Saint John the Evangelist is to step into a hushed moment of profound intellectual reckoning. The air seems thick with the scent of aged vellum and deep thought. This painting captures not merely a portrait, but an entire state of being—the quiet intensity of divine revelation meeting human contemplation. The figure dominates the vertical space, his posture one of serene yet palpable engagement with…
To gaze upon this preparatory drawing by Jacopo Bellini is to step directly into the vibrant, intellectual crucible of the early Italian Renaissance. It is not merely an image; it is a blueprint of genius—a tangible record of an artist wrestling with the monumental weight and exquisite potential of classical antiquity. Rendered in the delicate interplay of charcoal and ink upon aged paper, the composition presents three distinct sculptural visions:…
A vertical, arched composition defines this Renaissance-era religious panel, presenting a standing figure of Saint Peter with a formal, iconographic presence. The subject is an elderly man, characterized by a balding head and a full, greyish-white beard, his gaze directed slightly upward and toward the viewer's left. He is draped in voluminous, layered robes: a red undergarment visible at the base, a heavy golden-yellow mantle across the torso, and a…
The scene unfolds within a highly ornate polyptych, a structure defined by two main arched panels separated by a central gilded pillar. On the left, the Archangel Gabriel kneels in profile, his presence marked by an intricately patterned gold brocade robe accented with blue. His large, feathered wings frame a moment of profound stillness. Opposite him, the Virgin Mary kneels before a decorated prie-dieu, her posture one of quiet devotion.…
This Renaissance triptych, dated to 1450, presents three holy figures arranged within a gilded Gothic architectural frame. The composition follows a symmetrical structure, featuring a larger central panel flanked by two narrower side panels. In the center, St. Jerome is depicted wearing a crimson robe, holding a book and a small model of a church. To the left, St. Francis is shown in a muted grey habit, and to the…
A solemn portrait of Saint Bernardino of Siena emerges from a dark, patterned background, rendered with the precision of the Early Renaissance. The composition focuses on a three-quarter view of the elderly saint, whose weathered skin and deep-set eyes suggest a life of intense spiritual rigor. Soft, directional light from the upper left carves out the bony structure of his face, casting gentle shadows into the folds of his monastic…
The painting titled Madonna and Child is a work by the Venetian artist Jacopo Bellini. Born in Venice, Italy, Bellini helped shape the visual language of the Renaissance through a precise, observational hand. This specific panel captures a quiet, sacred moment between mother and son.
Adoration of the Magi1460 · Pinacoteca Nazionale
12
Virgin and Child1465
13
Mourning over Christ1470 · Gemäldegalerie
14
Profile Portrait of a Boy1470 · National Gallery of Art
15
Nativity1440 · The Louvre
16
Dormition of the Virgin1450 · The Louvre
17
Presentation of the Virgin at the TempleThe Louvre
18
St. John the Baptist PreachingThe Louvre
19
Flagellation1450 · The Louvre
20
Johannes der Evangelist, Der Apostel Petrus1430
21
Der heilige Hieronymus1430 · Gemäldegalerie
22
madonna and child, uffizi1450
23
Annunciation1444 · Sant'Alessandro
24
Lamentation (from the sketchook, folios 57b-58a)1440 · The Louvre
25
Madonna and Child1450 · Pinacoteca di Brera
26
Saint Anthony Abbot and Saint Bernardino of Siena1459 · National Gallery of Art
27
Madonna with Child1465 · Los Angeles County Museum of Art
28
Triptych of the Virgin1464 · Gallerie dell'Accademia di Venezia
29
Saint Anthony Abbot and Saint Bernardino da Siena1460
30
Album del Louvre, epigrafi e monete1450 · The Louvre
31
Le triomphe de BacchusThe Louvre
32
Madonna and Child Adored by Lionello d'Este1450 · The Louvre
33
Ross and rider
34
Sieben Heilige
35
Profile of a man
36
Crucifix
37
Madonna mit dem KindBonnefanten Museum
38
Christus in der Vorhölle
39
Heiliger Hieronymus in der Wüste
40
The Three Dead and Three Loud
41
The scourging at the torchlight
42
Christ in the grave
43
The Twelve Apostles in a Barrel Vaulted Passage1440 · British Museum
44
Sketch of young deer
45
Sketch of deer doe
46
Tomb of a prince
47
View of a fortification of Jerusalem
48
Christ's Descent into Limbo
49
saint anthony abbot and saint bernardino of sie(1
50
The CrucifixionMuseo Correr
51
Sketch of figures and scenes from the antique age
52
Virgin with ChildGallerie dell'Accademia di Venezia
53
St Michael Defeating SatanBritish Museum
54
Madonna and Child1450 · Galleria degli Uffizi
55
Madonna Tadini1450
56
Triptych of St Lawrence1464 · Gallerie dell'Accademia di Venezia
57
Triptych of St Sebastian1464 · Gallerie dell'Accademia di Venezia
58
Triptych of the Nativity1464 · Gallerie dell'Accademia di Venezia
59
Madonna and Child1420 · Castelvecchio Museum
60
Saint Jerome in the Desert1460 · Castelvecchio Museum
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Jacopo Bellini | Paintings from this list |
|---|---|---|---|
 The Louvre |
Paris | 10 | Epigrafi e Statue, Nativity, Dormition of the Virgin |
 Gallerie dell'Accademia di Venezia |
Venice | 5 | Triptych of the Virgin, Virgin with Child, Triptych of St Lawrence |
 National Gallery of Art |
Washington | 3 | Saint Anthony Abbot and Saint Bernardino of Siena, Profile Portrait of a Boy, Saint Anthony Abbot and Saint Bernardino of Siena |
 Gemäldegalerie |
Berlin | 3 | Saint Peter, Mourning over Christ, Der heilige Hieronymus |
 Staatliche Museen zu Berlin |
Berlin | 2 | The Aposle Peter, St John the Evangelist |
 British Museum |
London | 2 | The Twelve Apostles in a Barrel Vaulted Passage, St Michael Defeating Satan |
 Castelvecchio Museum |
Verona | 2 | Madonna and Child, Saint Jerome in the Desert |
 Metropolitan Museum of Art |
New York | 1 | Madonna and Child |
Pick a decade to see the original that defines it.
A seated Virgin Mary holds the Christ Child upon her lap, framed by a deep blue, arched background. The composition is centered and vertical, emphasizing a quiet, intimate relationship between mother and child. She is draped in voluminous red robes, while the Child wears a golden yellow tunic. Beneath them, an earthy green foreground provides a grounded base for the figures. The use of gold leaf in the large, circular…
To stand before Jacopo Bellini's depiction of The Apostle Peter is to encounter not merely a portrait, but a profound moment suspended in the amber glow of the early Renaissance. This oil on wood painting, dating from 1430, immediately draws the viewer into its narrative depth. Bellini masterfully captures the gravitas and intellectual weight associated with the figure of Peter. The composition itself is a lesson in visual storytelling; every…
The scene unfolds within a highly ornate polyptych, a structure defined by two main arched panels separated by a central gilded pillar. On the left, the Archangel Gabriel kneels in profile, his presence marked by an intricately patterned gold brocade robe accented with blue. His large, feathered wings frame a moment of profound stillness. Opposite him, the Virgin Mary kneels before a decorated prie-dieu, her posture one of quiet devotion.…
The year is roughly 1450, and within the bustling heart of Venice, a young artist named Jacopo Bellini was quietly revolutionizing the very fabric of painting. His “Madonna and Child,” now residing in the Uffizi Gallery, isn't merely a depiction of the Virgin Mary cradling her infant son; it’s a window into the burgeoning Renaissance spirit, a testament to Bellini’s innovative approach to perspective, color, and emotional resonance. This work…
In this Renaissance-era painting, Jacopo Bellini presents the biblical scene of the Adoration of the Magi. Created about 1460, the work captures the moment the Holy Family receives the Magi, a subject centered on the reverence shown to the Christ Child. The composition brings together the figures of Mary, Joseph, and the Magi within a structured setting, marking a significant moment of divine revelation through the interaction of these central…
The painting presents a tight, triangular arrangement of three figures set against a dark, indistinct background. In the foreground, the pale, luminous skin of the deceased Christ is the primary focus, his body positioned to reveal the anatomical structure of the torso and the musculature of the chest. A wound is visible in his side. Flanking the central figure are two mourning individuals, likely the Virgin Mary and Saint John…
The Aposle Peter (1430), Staatliche Museen zu Berlin, Berlin. Madonna and Child (1450) and Saint Anthony Abbot and Saint Bernardino of Siena (1459) come next.
30 years old: The Aposle Peter dates from 1430, and Jacopo Bellini was born in 1400.
The Aposle Peter, Madonna and Child, Saint Anthony Abbot and Saint Bernardino of Siena, St John the Evangelist, Epigrafi e Statue, Saint Peter, Annunciation, St. Jerome with St. Francis and St. Anthony Abbot, Saint Bernardino of Siena and Madonna and Child. The ranking above gives each one's year and museum.
Our catalog holds 62 works by Jacopo Bellini, dated from 1420 to 1470.
Mostly in The Louvre (Paris), Gallerie dell'Accademia di Venezia (Venice) and National Gallery of Art (Washington). The museum table above lists them all.
In 1450s: 14 of the 60 works on this page were made then, Madonna and Child among them.
On this page, the earliest is Madonna and Child (1420) and the latest Mourning over Christ (1470).
Child (11), Woman (11) and Man (8), across the 60 works on this page.
Tempera On Panel, for 14 of the 60 works on this page.
Early renaissance, judging by the originals on this page.
Epigrafi e Statue, Nativity and Dormition of the Virgin: the The Louvre, Paris holds 10 of the works on this page.
Jacopo Bellini stands as a pivotal figure in the burgeoning Renaissance style of painting that flourished in Venice and northern Italy. He was far more than a mere painter; he was one of the foundational innovators of his era, shaping artistic sensibilities through a meticulous observation of nature and a masterful incorporation of linear perspective—a technique that was previously largely absent from the Venetian tradition. While few of Bellini's original canvases survive today to be viewed in their full glory, his profound legacy resides primarily within his exquisite sketchbooks, such as those housed in the British Museum and the Louvre. These drawings reveal a deep fascination with sweeping landscape vistas and elaborate architectural designs, offering invaluable insight into an artistic process that foreshadowed the stylistic revolutions of the centuries to follow.
Born in Venice around 1396, Jacopo’s formative years were steeped in the rich, decorative traditions of the late Gothic period. His early training suggests he was a pupil of the celebrated Gentile da Fabriano, an artist whose workshop produced some of the most ambitious and ornate frescoes of the era. This prestigious association undoubtedly instilled in Bellini a lifelong appreciation for intricate detail, color harmony, and a certain decorative complexity. His early career saw him active in Foligno between 1411 and 1412, where he collaborated on the monumental frescoes of the Palazzo Trinci, working alongside the very masters who defined the international Gothic style.
A significant turning point arrived when Bellini traveled to Florence around 1423. This journey placed him at the epicenter of an intense period of artistic experimentation led by luminaries such as Brunelleschi, Donatello, and Masaccio. In Florence, he encountered the burgeoning science of linear perspective, a discovery that would fundamentally alter his approach to space and depth. By blending the lyrical, decorative elegance of his Venetian roots with the structural rigor and spatial clarity of the Florentine innovators, Bellini began to forge a unique visual language. This synthesis allowed him to move beyond the flat, symbolic planes of the Middle Ages toward a more immersive, window-like depiction of the world.
As his career progressed, Bellini became a central figure in establishing a family dynasty that would dominate Venetian art for generations. His influence was not merely personal but pedagogical, as he passed his innovations down to his sons, Gentile and Giovanni. Through them, the seeds of his experimentation with light, landscape, and perspective blossomed into the high Renaissance splendor associated with the Bellini name. His work served as a bridge between the ornamental traditions of the past and the humanistic realism of the future, making him an indispensable link in the evolution of Italian art.
The historical significance of Jacopo Bellini lies in his role as a catalyst for change. Though much of his output remains captured in the intimate medium of ink and pen, those sketches serve as a blueprint for the Venetian Renaissance. His ability to envision complex, multi-layered landscapes and mathematically coherent architectures provided the groundwork for his successors to explore the atmospheric beauty of the Venetian lagoon. To study Bellini is to witness the very moment when the eye of the artist began to truly master the illusion of depth, forever changing how humanity perceives the painted world.
