Andrea Mantegna Freskenzyklus in der Camera degli Sposi im Palazzo Ducale in Mantua, Szene: Zusammentreffen von Herzog Ludovico Gonzaga mit Kardinal Francesco Gonzaga Painting ID:: 73332 new24/Andrea Mantegna-385579.jpg
Freskenzyklus in der Camera degli Sposi im Palazzo Ducale in Mantua, Szene: Zusammentreffen von Herzog Ludovico Gonzaga mit Kardinal Francesco Gonzaga Freskenzyklus in der Camera degli Sposi im Palazzo Ducale in Mantua, Szene: Zusammentreffen von Herzog Ludovico Gonzaga mit Kardinal Francesco Gonzaga, Detail: Francesco und Sigismondo Gonzaga, Söhne des Kardinal Francesco Gonzaga.
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Andrea Mantegna Christus als Schmerzensmann Painting ID:: 78127 new24/Andrea Mantegna-863677.jpg
Christus als Schmerzensmann 1489
Oil on panel
83 x 51 cm
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Andrea Mantegna Hl. Familie mit Hl Painting ID:: 78435 new24/Andrea Mantegna-988479.jpg
Hl. Familie mit Hl Oil on canvas
Dimensions 75 x 61 cm
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Andrea Mantegna Madonna mit Hl. Maria Magdalena und Hl. Johannes dem Taufer Painting ID:: 78781 new24/Andrea Mantegna-597747.jpg
Madonna mit Hl. Maria Magdalena und Hl. Johannes dem Taufer 3rd third of 15th century
Oil on canvas
136 x 114 cm
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Andrea Mantegna Dalia und Samson Painting ID:: 79068 new24/Andrea Mantegna-656889.jpg
Dalia und Samson 1495
Oil on canvas
47 x 37 cm
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Andrea Mantegna Christus als Schmerzensmann Painting ID:: 81464 new24/Andrea Mantegna-738496.jpg
Christus als Schmerzensmann 1489
Medium Oil on panel
Dimensions 83 x 51 cm
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Andrea Mantegna Triumph des Scipio Painting ID:: 81757 new24/Andrea Mantegna-459799.jpg
Triumph des Scipio English: c. 1500
Medium Oil on panel
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Andrea Mantegna 3rd third of 15th century Painting ID:: 81877 new24/Andrea Mantegna-557595.jpg
3rd third of 15th century Oil on canvas
Dimensions Deutsch: 136 x 114 cm
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Andrea Mantegna The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist, distemper Painting ID:: 82442 new24/Andrea Mantegna-783875.jpg
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist, distemper The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist, distemper, oil, and gold on canvas by Andrea Mantegna, c. 1485 - 88, Kimbell Art Museum
Date c. 1485 - 88
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Andrea Mantegna Christ Welcoming the Virgin in Heaven Painting ID:: 83254 new24/Andrea Mantegna-889469.jpg
Christ Welcoming the Virgin in Heaven Date between 1460(1460) and 1464(1464)
Medium Oil on wood
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Andrea Mantegna Suite of Cardinal Francesco Painting ID:: 84148 new24/Andrea Mantegna-647339.jpg
Suite of Cardinal Francesco Date between 1465(1465) and 1474(1474)
Medium Walnut oil on plaster
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Andrea Mantegna Death of the Virgin Painting ID:: 84678 new25/Andrea Mantegna-697376.jpg
Death of the Virgin Date between 1460(1460) and 1464(1464)
Medium Oil on wood
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Andrea Mantegna Maria mit Kind und Engeln Painting ID:: 85322 new25/Andrea Mantegna-374556.jpg
Maria mit Kind und Engeln Date 1485
Medium Oil on panel
Dimensions Deutsch: 88 x 71 cm
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Andrea Mantegna The Court of Gonzaga Painting ID:: 85842 new25/Andrea Mantegna-353557.jpg
The Court of Gonzaga Date between 1465(1465) and 1474(1474)
Medium Walnut oil on plaster
Dimensions Height: 805 cm (316.9 in). Width: 807 cm (317.7 in).
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Andrea Mantegna The Madonna and Child with Saints Joseph Painting ID:: 85917 new25/Andrea Mantegna-845563.jpg
The Madonna and Child with Saints Joseph oil, and gold on canvas by Andrea Mantegna, c. 1485 - 88, Kimbell Art Museum
Date c. 1485 - 88
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Andrea Mantegna Suite of Cardinal Francesco Painting ID:: 87990 new25/Andrea Mantegna-775933.jpg
Suite of Cardinal Francesco between 1465(1465) and 1474
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Andrea Mantegna Suite of Cardinal Francesco Painting ID:: 87991 new25/Andrea Mantegna-956869.jpg
Suite of Cardinal Francesco between 1465(1465) and 1474
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Andrea Mantegna Grotesque self-portrait Painting ID:: 87992 new25/Andrea Mantegna-369348.jpg
Grotesque self-portrait between 1465(1465) and 1474
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Andrea Mantegna Inscription with Putti Painting ID:: 87993 new25/Andrea Mantegna-377787.jpg
Inscription with Putti between 1465(1465) and 1474
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Andrea Mantegna Inscription with Putti Painting ID:: 87994 new25/Andrea Mantegna-467953.jpg
Inscription with Putti between 1465(1465) and 1474
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Andrea Mantegna The Meeting Painting ID:: 87995 new25/Andrea Mantegna-385833.jpg
The Meeting between 1465(1465) and 1474
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Andrea Mantegna The Meeting Painting ID:: 87996 new25/Andrea Mantegna-588536.jpg
The Meeting between 1465(1465) and 1474
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Andrea Mantegna The Meeting Painting ID:: 87997 new25/Andrea Mantegna-496867.jpg
The Meeting between 1465(1465) and 1474
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Andrea Mantegna The Meeting Painting ID:: 87998 new25/Andrea Mantegna-934966.jpg
The Meeting Date between 1465(1465) and 1474
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Andrea Mantegna The Meeting Painting ID:: 87999 new25/Andrea Mantegna-545769.jpg
The Meeting Date between 1465(1465) and 1474
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Andrea Mantegna The Meeting Painting ID:: 88000 new25/Andrea Mantegna-789648.jpg
The Meeting Date between 1465(1465) and 1474
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Andrea Mantegna The Court of Gonzaga Painting ID:: 88001 new25/Andrea Mantegna-945694.jpg
The Court of Gonzaga Date between 1465(1465) and 1474
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Andrea Mantegna The Court of Gonzaga Painting ID:: 88002 new25/Andrea Mantegna-954348.jpg
The Court of Gonzaga Date between 1465(1465) and 1474
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Andrea Mantegna The Court of Gonzaga Painting ID:: 88003 new25/Andrea Mantegna-494742.jpg
The Court of Gonzaga Date between 1465(1465) and 1474
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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.