Gentile Bellini's Portrait of Sultan Mehmed II : Lives and Afterlives of an Iconic Image

In 1479, the Venetian painter Gentile Bellini arrived at the Ottoman court in Istanbul,
where he produced his celebrated portrait of Sultan Mehmed II. An important moment of
cultural diplomacy, this was the first of many intriguing episodes in the picture's history.

Elizabeth Rodini traces Gentile's portrait from Mehmed's court to the Venetian lagoon,
from the railway stations of war-torn Europe to the walls of London's National Gallery,
exploring its life as a painting and its afterlife as a famous, often puzzling image.

Rediscovered by the archaeologist Austen Henry Layard at the height of Orientalist
outlooks in Britain, the picture was also the subject of a lawsuit over what defines a
“portrait”; it was claimed by Italians seeking to hold onto national patrimony around 1900;
and it starred in a solo exhibition in Istanbul in 1999. Rodini's focused inquiry also ranges
broadly, considering the nature of historical evidence, the shifting status of authenticity
and verisimilitude, and the contemporary political resonance of Old Master paintings.

Told as an object biography and imagined as an exploration of art historical
methodologies, this book situates Gentile's portrait in evolving dialogues between East
and West, uncovering the many and varied ways that objects construct meaning.

“Rodini's study covers the journey of this painting through time and geographies, revealing interactions and encounters between different cultures and politics, and throwing light upon concepts of likeness, symbolism and patrimony... resulting in a new inspiring reading.” —GÜNSEL RENDA, PROFESSOR AT THE DEPARTMENT OF ARCHAEOLOGY AND HISTORY OF ART, KOÇ UNIVERSITY, ISTANBUL, TURKEY

“'Rodini's essential “social life” of the Mehmed II portrait evokes both a
memoir and a mystery novel. Her cross-cultural study blends meticulous
archival research and rich critical analysis to examine every aspect of this
complex painting – from its physicality to its reception spanning its inception
in fifteenth-century Constantinople to contemporary London.'” —LIA MARKEY, DIRECTOR OF THE CENTER FOR RENAISSANCE STUDIES, NEWBERRY LIBRARY, CHICAGO, USA