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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 The Battle of the Sea God with the initial of the artist and the date oil painting

Painting ID::  42269

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Andrea Mantegna
The Battle of the Sea God with the initial of the artist and the date
mk168 1494 Pen and ink on paper 292x382mm
   
   
     

 

 

Andrea Mantegna The Castle and Town of Arco oil painting

Painting ID::  42271

X 
 

Andrea Mantegna
The Castle and Town of Arco
mk168 Watercolor and body color on paper 223x222mm
   
   
     

 

 

Andrea Mantegna Island Abode oil painting

Painting ID::  42272

X 
 

Andrea Mantegna
Island Abode
mk168 213x225mm London British Museum
   
   
     

 

 

Andrea Mantegna De died Christ oil painting

Painting ID::  42510

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Andrea Mantegna
De died Christ
m k169 after 1466. Tempered on cloth 67.9x81cm Pinacoteca Tue Brera, Milan
   
   
     

 

 

Andrea Mantegna St. Sebastiaan oil painting

Painting ID::  42633

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Andrea Mantegna
St. Sebastiaan
MK169 ca. 1460 Panel 68x30cm Kunsthistorisches Museum, Weep
   
   
     

 

 

Andrea Mantegna The Agony in the Garden oil painting

Painting ID::  42901

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Andrea Mantegna
The Agony in the Garden
mk170 Circa 1460 Tempera on wood 62.9x80cm
   
   
     

 

 

Andrea Mantegna Detail of The Agony in the Garden oil painting

Painting ID::  42902

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Andrea Mantegna
Detail of The Agony in the Garden
mk170
   
   
     

 

 

Andrea Mantegna The Virgin and Child with the Magadalen and Saint John the Baptist oil painting

Painting ID::  42910

X 
 

Andrea Mantegna
The Virgin and Child with the Magadalen and Saint John the Baptist
mk170 circa 1500 Tempera on canvas 139.1x116.8cm
   
   
     

 

 

Andrea Mantegna The Holy Fmaily with Saint John oil painting

Painting ID::  42911

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Andrea Mantegna
The Holy Fmaily with Saint John
mk170 circa 1500 Tempera on canvas 71.1x50.8cm
   
   
     

 

 

Andrea Mantegna Parnassus oil painting

Painting ID::  44857

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Andrea Mantegna
Parnassus
mk176 c.1490 Oil on canvas 63.5x75.37in
   
   
     

 

 

Andrea Mantegna Caesar-s Chariot oil painting

Painting ID::  50866

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Andrea Mantegna
Caesar-s Chariot
mk216 Caesar-s Chariot rom the triumph of caesar Mantegna was the most important 15-century North Italian painter and the Triumph of Caesar may well be his masterpiece Even Today
   
   
     

 

 

Andrea Mantegna Detail of Ceiling from the Camera degli Sposi oil painting

Painting ID::  51716

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Andrea Mantegna
Detail of Ceiling from the Camera degli Sposi
nn09 c.1474
   
   
     

 

 

Andrea Mantegna Putti Holding Dedicatory Tablet oil painting

Painting ID::  51717

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Andrea Mantegna
Putti Holding Dedicatory Tablet
nn09 c.1474 Fresco
   
   
     

 

 

Andrea Mantegna Virgin Marie dod oil painting

Painting ID::  53698

X 
 

Andrea Mantegna
Virgin Marie dod
mk234 about 1460 54x42cm
   
   
     

 

 

Andrea Mantegna Mansportratt oil painting

Painting ID::  53699

X 
 

Andrea Mantegna
Mansportratt
mk234 probably about 1460 24x19cm
   
   
     

 

 

Andrea Mantegna Judit with Holofernes-head oil painting

Painting ID::  53700

X 
 

Andrea Mantegna
Judit with Holofernes-head
mk234 about 1495 30x18cm
   
   
     

 

 

Andrea Mantegna Christ in Gethsemane oil painting

Painting ID::  53701

X 
 

Andrea Mantegna
Christ in Gethsemane
mk234 about 1460 63x81cm
   
   
     

 

 

Andrea Mantegna ecce homo oil painting

Painting ID::  55985

X 
 

Andrea Mantegna
ecce homo
mk247 c.1500,tempera on canvas,21.25x16.5 in,54x42 cm,musee jacquemart-andre,paris,france
   
   
     

 

 

Andrea Mantegna ludovico ii gonzag moter sin son oil painting

Painting ID::  56628

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Andrea Mantegna
ludovico ii gonzag moter sin son
mk248 freskernarna i camera degli sposi i bertigpalatset i mantua ar slaende exempel pa 1400-tllusionism.
   
   
     

 

 

Andrea Mantegna klagan over den dode kristus oil painting

Painting ID::  56629

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Andrea Mantegna
klagan over den dode kristus
mk248 mantegna bar ramat in ett begransat rum pa ett satt som rent arkitektoniskt definierar det som ett barbus ocb sin erfarenbet av klassiska modeller frmedelar ban genom kristusgestalten en imponerande strambet. hans masterliga forminskning gor ocksa att betraktaren uppmarksammar de genomborrade fotterna, oavsett ur vilken vinken vinkel verket betraktas. malade fran mantegnas modeller av vikt papper ocb fastklistrat tyg.
   
   
     

 

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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.