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MANTEGNA, Andrea Italian Early Renaissance Painter, ca.1431-1506
Italian painter and printmaker. He occupies a pre-eminent position among Italian artists of the 15th century. The profound enthusiasm for the civilization of ancient Rome that infuses his entire oeuvre was unprecedented in a painter. In addition to its antiquarian content, his art is characterized by brilliant compositional solutions, the bold and innovative use of perspective and foreshortening and a precise and deliberate manner of execution, an aspect that was commented upon during his lifetime. He was held in great esteem by his contemporaries for his learning and skill and, significantly, he is the only artist of the period to have left a small corpus of self-portraits: two in the Ovetari Chapel; his presumed self-portrait in the Presentation in the Temple (Berlin, Gemeldegal.); one in the Camera Picta (Mantua, Pal. Ducale) and the funerary bust in his burial chapel in S Andrea, Mantua, designed and probably executed by himself. His printmaking activity is technically advanced and of great importance, although certain aspects of the execution remain to be clarified.
MANTEGNA, Andrea The Adoration of the Shepherds sf c. 1451-53
Tempera on canvas tranferred from wood, 40 x 55,6 cm
Metropolitan Museum of Art, New York
Painting ID:: 8045
X
MANTEGNA, Andrea Agony in the Garden dth c. 1459
Tempera on wood, 63 x 80 cm
National Gallery, London
Painting ID:: 8046
X
MANTEGNA, Andrea Agony in the Garden (detail) sg c. 1459
Tempera on wood
National Gallery, London
Painting ID:: 8047
X
MANTEGNA, Andrea Portrait of a Man ag c. 1460
Wood
National Gallery of Art, Washington
Painting ID:: 8048
X
MANTEGNA, Andrea St Sebastian sgy 1457-58
Wood, 68 x 30 cm
Kunsthistorisches Museum, Vienna
Painting ID:: 8049
X
MANTEGNA, Andrea St Sebastian sg 1456-59
Panel, 255 x 140 cm
Mus??e du Louvre, Paris
Painting ID:: 8050
X
MANTEGNA, Andrea The Madonna of the Cherubim sg c. 1485
Panel, 88 x 70 cm
Pinacoteca di Brera, Milan
Painting ID:: 8051
X
MANTEGNA, Andrea The Lamentation over the Dead Christ st c. 1490
Tempera on canvas, 68 x 81 cm
Pinacoteca di Brera, Milan
Painting ID:: 8052
X
MANTEGNA, Andrea Parnassus sg 1497
Canvas, 160 x 192 cm
Mus??e du Louvre, Paris
Painting ID:: 8053
X
MANTEGNA, Andrea View of the West and North Walls sg 1465-74
Camera degli Sposi, Ducal Palace, Mantua
Painting ID:: 8054
X
MANTEGNA, Andrea Ceiling Oculus sg 1471-74
Fresco, diameter: 270 cm
Camera degli Sposi, Ducal Palace, Mantua
Painting ID:: 8055
X
MANTEGNA, Andrea The Court of Mantua (detail) g 1471-74
Fresco
Camera degli Sposi, Ducal Palace, Mantua
Painting ID:: 8056
X
MANTEGNA, Andrea Suite of Cardinal Francesco (detail) ag 1471-74
Fresco
Camera degli Sposi, Ducal Palace, Mantua
Painting ID:: 8057
X
MANTEGNA, Andrea The Court of Mantua (detail) ef 1471-74
Fresco
Camera degli Sposi, Ducal Palace, Mantua
Painting ID:: 32387
X
MANTEGNA, Andrea St George c. 1460
Tempera on panel, 66 x 32 cm
Painting ID:: 32390
X
MANTEGNA, Andrea View of the West and North Walls 1465-74
Painting ID:: 32523
X
MANTEGNA, Andrea Recreation by our Gallery 02 mk79
1497
Painting ID:: 32524
X
MANTEGNA, Andrea Recreation by our Gallery 01 mk79
About 1459
Painting ID:: 32525
X
MANTEGNA, Andrea San Sebastiano mk79
1476-1477,
olio su tela trasportato su tavola
Painting ID:: 33366
X
MANTEGNA, Andrea Portrait of Cardinal Lodovico Trevisano mk86
c.14591469
Tempera on wood
44x33cm
Italian Early Renaissance Painter, ca.1431-1506
Italian painter and printmaker. He occupies a pre-eminent position among Italian artists of the 15th century. The profound enthusiasm for the civilization of ancient Rome that infuses his entire oeuvre was unprecedented in a painter. In addition to its antiquarian content, his art is characterized by brilliant compositional solutions, the bold and innovative use of perspective and foreshortening and a precise and deliberate manner of execution, an aspect that was commented upon during his lifetime. He was held in great esteem by his contemporaries for his learning and skill and, significantly, he is the only artist of the period to have left a small corpus of self-portraits: two in the Ovetari Chapel; his presumed self-portrait in the Presentation in the Temple (Berlin, Gemeldegal.); one in the Camera Picta (Mantua, Pal. Ducale) and the funerary bust in his burial chapel in S Andrea, Mantua, designed and probably executed by himself. His printmaking activity is technically advanced and of great importance, although certain aspects of the execution remain to be clarified.
