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Andrea Mantegna
Italian 1431-1506 Andrea Mantegna Locations Mantegna was born in Isola di Carturo, close to Padua in the Republic of Venice, second son of a carpenter, Biagio. At the age of eleven he became the apprentice of Francesco Squarcione, Paduan painter. Squarcione, whose original vocation was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a faculty for acting. Like his famous compatriot Petrarca, Squarcione was something of a fanatic for ancient Rome: he travelled in Italy, and perhaps Greece, amassing antique statues, reliefs, vases, etc., forming a collection of such works, then making drawings from them himself, and throwing open his stores for others to study. All the while, he continued undertaking works on commission for which his pupils no less than himself were made available. San Zeno Altarpiece, (left panel), 1457-60; San Zeno, VeronaAs many as 137 painters and pictorial students passed through Squarcine's school, which had been established towards 1440 and which became famous all over Italy. Padua was attractive for artists coming not only from Veneto but also from Tuscany, such as Paolo Uccello, Filippo Lippi and Donatello. Mantegna's early career was shaped indeed by impressions of Florentine works. At the time, Mantegna was said to be a favorite pupil; Squarcione taught him the Latin language, and instructed him to study fragments of Roman sculpture. The master also preferred forced perspective, the lingering results of which may account for some Mantegna's later innovations. However, at the age of seventeen, Mantegna separated himself from Squarcione. He later claimed that Squarcione had profited from his work without paying the rights. His first work, now lost, was an altarpiece for the church of Santa Sofia in 1448. The same year Mantegna was called, together with Nicol?? Pizolo, to work with a large group of painters entrusted with the decoration of the Ovetari Chapel in the apse of the church of Eremitani. It is probable, however, that before this time some of the pupils of Squarcione, including Mantegna, had already begun the series of frescoes in the chapel of S. Cristoforo, in the church of Sant'Agostino degli Eremitani, today considered his masterpiece. After a series of coincidences, Mantegna finished most of the work alone, though Ansuino, who collaborated with Mantegna in the Ovetari Chapel, brought his style in the Forl?? school of painting. The now censorious Squarcione carped about the earlier works of this series, illustrating the life of St James; he said the figures were like men of stone, and had better have been colored stone-color at once. This series was almost entirely lost in the 1944 Allied bombings of Padua. The most dramatic work of the fresco cycle was the work set in the worm's-eye view perspective, St. James Led to His Execution. (For an example of Mantegna's use of a lowered view point, see the image at right of Saints Peter and Paul; though much less dramatic in its perspective that the St. James picture, the San Zeno altarpiece was done shortly after the St. James cycle was finished, and uses many of the same techniques, including the classicizing architectural structure.) San Luca Altarpiece, 1453; Tempera on panel; Pinacoteca di Brera, MilanThe sketch of the St. Stephen fresco survived and is the earliest known preliminary sketch which still exists to compare to the corresponding fresco. Despite the authentic look of the monument, it is not a copy of any known Roman structure. Mantegna also adopted the wet drapery patterns of the Romans, who derived the form from the Greek invention, for the clothing of his figures, although the tense figures and interactions are derived from Donatello. The drawing shows proof that nude figures were used in the conception of works during the Early Renaissance. In the preliminary sketch, the perspective is less developed and closer to a more average viewpoint however. Among the other early Mantegna frescoes are the two saints over the entrance porch of the church of Sant'Antonio in Padua, 1452, and an altarpiece of St. Luke and other saints (at left) for the church of S. Giustina, now in the Brera Gallery in Milan (1453). As the young artist progressed in his work, he came under the influence of Jacopo Bellini, father of the celebrated painters Giovanni and Gentile, and of a daughter Nicolosia. In 1453 Jacopo consented to a marriage between Nicolosia to Mantegna in marriage.

 

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Andrea Mantegna Judith and Holofernes oil painting

Painting ID::  2722

X 
 

Andrea Mantegna
Judith and Holofernes
1495-1500 The National Gallery of Ireland, Dublin
   
   
     

 

 

Andrea Mantegna The Dead Christ oil painting

Painting ID::  2715

X 
 

Andrea Mantegna
The Dead Christ
Brera Gallery, Milan
   
   
     

 

 

Andrea Mantegna The Meeting oil painting

Painting ID::  2716

X 
 

Andrea Mantegna
The Meeting
1474 Palazzo Ducale, Mantua, Italy
   
   
     

 

 

Andrea Mantegna Adoration of the Magi oil painting

Painting ID::  2717

X 
 

Andrea Mantegna
Adoration of the Magi
Galleria degli Uffizi, Florence
   
   
     

 

 

Andrea Mantegna Madonna and Child oil painting

Painting ID::  2718

X 
 

Andrea Mantegna
Madonna and Child
1506 Galleria degli Uffizi, Florence
   
   
     

 

 

Andrea Mantegna Portrait of the Protonary Carlo de Medici oil painting

Painting ID::  2719

X 
 

Andrea Mantegna
Portrait of the Protonary Carlo de Medici
1459-66 Galleria degli Uffizi, Florence
   
   
     

 

 

Andrea Mantegna Samson and Delilah oil painting

Painting ID::  2720

X 
 

Andrea Mantegna
Samson and Delilah
National Gallery, London
   
   
     

 

 

Andrea Mantegna St.Sebastian oil painting

Painting ID::  2721

X 
 

Andrea Mantegna
St.Sebastian
1459-60 Art History Museum, Vienna
   
   
     

 

 

Andrea Mantegna Judith and Holofernes oil painting

Painting ID::  2723

X 
 

Andrea Mantegna
Judith and Holofernes
1495-1500 The National Gallery of Ireland, Dublin
   
   
     

 

 

Andrea Mantegna Madonna of Victory oil painting

Painting ID::  2724

X 
 

Andrea Mantegna
Madonna of Victory
Musee du Louvre, Paris
   
   
     

 

 

Andrea Mantegna Christ the Redeemer oil painting

Painting ID::  2725

X 
 

Andrea Mantegna
Christ the Redeemer
Congregazione di Carita, Correggio
   
   
     

 

 

Andrea Mantegna The Crucifixion oil painting

Painting ID::  2727

X 
 

Andrea Mantegna
The Crucifixion
1456-59 Musee du Louvre, Paris
   
   
     

 

 

Andrea Mantegna Camera degli Sposi oil painting

Painting ID::  2728

X 
 

Andrea Mantegna
Camera degli Sposi
1474 Palazzo Ducale, Mantua, Italy
   
   
     

 

 

Andrea Mantegna Portrait of a Man  aaa oil painting

Painting ID::  2729

X 
 

Andrea Mantegna
Portrait of a Man aaa
1460 National Gallery of Art, Washington DC
   
   
     

 

 

Andrea Mantegna The Agony in the Garden oil painting

Painting ID::  2730

X 
 

Andrea Mantegna
The Agony in the Garden
1460 National Gallery, London
   
   
     

 

 

Andrea Mantegna Camera degli Sposi oil painting

Painting ID::  2731

X 
 

Andrea Mantegna
Camera degli Sposi
1474 Palazzo Ducale, Mantua, Italy
   
   
     

 

 

Andrea Mantegna Presentation at the Temple oil painting

Painting ID::  2732

X 
 

Andrea Mantegna
Presentation at the Temple
Gemaldegalerie, Berlin
   
   
     

 

 

Andrea Mantegna Madonna and Child with Cherubs oil painting

Painting ID::  2733

X 
 

Andrea Mantegna
Madonna and Child with Cherubs
Pinacoteca di Brera
   
   
     

 

 

Andrea Mantegna Calvary (mk05) oil painting

Painting ID::  20074

X 
 

Andrea Mantegna
Calvary (mk05)
1457-60 Wood,30 x 38''(76 x 96 cm)Center of the predella painted for the Church of San Zeno in Verona;entered he Louvre in 1798
   
   
     

 

 

Andrea Mantegna Virgin and Child Surrounded by Six Saints and Gianfrancesco II Gonzaga (mk05) oil painting

Painting ID::  20078

X 
 

Andrea Mantegna
Virgin and Child Surrounded by Six Saints and Gianfrancesco II Gonzaga (mk05)
1495 Canvas,112 1/4 x 66 1/4''(285 x 168 cm)Entered the Louvre in 1798
   
   
     

 

  1  2  3  4  5  6  7     Next

 

Andrea Mantegna
Italian 1431-1506 Andrea Mantegna Locations Mantegna was born in Isola di Carturo, close to Padua in the Republic of Venice, second son of a carpenter, Biagio. At the age of eleven he became the apprentice of Francesco Squarcione, Paduan painter. Squarcione, whose original vocation was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a faculty for acting. Like his famous compatriot Petrarca, Squarcione was something of a fanatic for ancient Rome: he travelled in Italy, and perhaps Greece, amassing antique statues, reliefs, vases, etc., forming a collection of such works, then making drawings from them himself, and throwing open his stores for others to study. All the while, he continued undertaking works on commission for which his pupils no less than himself were made available. San Zeno Altarpiece, (left panel), 1457-60; San Zeno, VeronaAs many as 137 painters and pictorial students passed through Squarcine's school, which had been established towards 1440 and which became famous all over Italy. Padua was attractive for artists coming not only from Veneto but also from Tuscany, such as Paolo Uccello, Filippo Lippi and Donatello. Mantegna's early career was shaped indeed by impressions of Florentine works. At the time, Mantegna was said to be a favorite pupil; Squarcione taught him the Latin language, and instructed him to study fragments of Roman sculpture. The master also preferred forced perspective, the lingering results of which may account for some Mantegna's later innovations. However, at the age of seventeen, Mantegna separated himself from Squarcione. He later claimed that Squarcione had profited from his work without paying the rights. His first work, now lost, was an altarpiece for the church of Santa Sofia in 1448. The same year Mantegna was called, together with Nicol?? Pizolo, to work with a large group of painters entrusted with the decoration of the Ovetari Chapel in the apse of the church of Eremitani. It is probable, however, that before this time some of the pupils of Squarcione, including Mantegna, had already begun the series of frescoes in the chapel of S. Cristoforo, in the church of Sant'Agostino degli Eremitani, today considered his masterpiece. After a series of coincidences, Mantegna finished most of the work alone, though Ansuino, who collaborated with Mantegna in the Ovetari Chapel, brought his style in the Forl?? school of painting. The now censorious Squarcione carped about the earlier works of this series, illustrating the life of St James; he said the figures were like men of stone, and had better have been colored stone-color at once. This series was almost entirely lost in the 1944 Allied bombings of Padua. The most dramatic work of the fresco cycle was the work set in the worm's-eye view perspective, St. James Led to His Execution. (For an example of Mantegna's use of a lowered view point, see the image at right of Saints Peter and Paul; though much less dramatic in its perspective that the St. James picture, the San Zeno altarpiece was done shortly after the St. James cycle was finished, and uses many of the same techniques, including the classicizing architectural structure.) San Luca Altarpiece, 1453; Tempera on panel; Pinacoteca di Brera, MilanThe sketch of the St. Stephen fresco survived and is the earliest known preliminary sketch which still exists to compare to the corresponding fresco. Despite the authentic look of the monument, it is not a copy of any known Roman structure. Mantegna also adopted the wet drapery patterns of the Romans, who derived the form from the Greek invention, for the clothing of his figures, although the tense figures and interactions are derived from Donatello. The drawing shows proof that nude figures were used in the conception of works during the Early Renaissance. In the preliminary sketch, the perspective is less developed and closer to a more average viewpoint however. Among the other early Mantegna frescoes are the two saints over the entrance porch of the church of Sant'Antonio in Padua, 1452, and an altarpiece of St. Luke and other saints (at left) for the church of S. Giustina, now in the Brera Gallery in Milan (1453). As the young artist progressed in his work, he came under the influence of Jacopo Bellini, father of the celebrated painters Giovanni and Gentile, and of a daughter Nicolosia. In 1453 Jacopo consented to a marriage between Nicolosia to Mantegna in marriage.