Wikipedia article Andrea Mantegna Italian: Like other artists of the time, Mantegna experimented with perspective, e. His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the leading producer of prints in Venice before
He was the second son of a woodworker but was legally adopted by Francesco Squarcione by the time he was 10 years old and possibly even earlier. The award to Mantegna of the important commission for an altarpiece for the church of Santa Sofianow lost, demonstrates his precocity, since it was unusual for so young an artist to receive such a commission.
The figures of Saints Peter, Paul, and Christopher in the apse, his earliest frescoes in this chapel, show to what extent he had already absorbed the monumental figure style of Tuscany.
The perspective scheme with a viewpoint below the lower frame of the composition exaggerates the apparent height of the scene with respect to the viewer and lends an aspect of grandiose monumentality to the triumphal arch.
In the two scenes from the life of St. Christopher united in a single perspective on the right-hand wall, Mantegna extended his experiments in illusionism to the framing element by painting a highly realistic column on the front plane.
The meticulously detailed column divides the scene in two while appearing to exist in a realm totally apart from the pictorial space, a realm shared with the observer. Christopher were destroyed by a bomb during World War II.
The environment of the city of Padua, where Mantegna lived during the major formative years of his life from about age 10 to about age 30exerted a strong influence on his interests, ideas, painting style, and concept of himself. Padua was the first centre of humanism in northern Italy, the home of a great university founded inand renowned as a centre for the study of medicine, philosophy, and mathematics.
With the influx of scholars from all over Europe and Italy, an atmosphere of internationalism prevailed. From the time of the 14th-century poet Petrarch, Padua had experienced a rapidly growing revival of interest in antiquity, and many eminent humanists and Latin scholars had resided there.
Increasing interest in and imitation of the culture of ancient Rome produced a climate in which feverish collecting of antiquities and ancient inscriptions—even if only in fragmentary form—flourished.
On the other hand, through a process of artistic synthesis, Mantegna sensed the forces and significances below the surfaces of Roman grandeur. The architectural backgrounds of pictures in the Ovetari Chapel, such as the St.
James Before Herod and the St. James Led to Martyrdom, as well as of the two paintings of St. Sebastian in Vienna and Pariswere infused with a brooding harshness and severity against which the suffering of the Christian saints took on the added tragic implication of an impending cultural clash that was to separate and alienate the Christian and pagan worlds.
That the Roman world still existed in Italy in ruins only served to increase the sudden sense of cultural loss that struck the 15th century. By his thoroughgoing description of antique forms coupled with an instinctive sense of the political realities that underlay their original creation, Mantegna lent great impetus to the antique revival movement at mid-century.
His Venetian connections were strengthened by his marriage in to Nicolosia, daughter of Jacopo Bellini and sister of Giovanni and Gentile Belliniwho became the leading family of painters in Venice during the following decade. Though Mantegna might have been expected to join the Bellini studio, he preferred to pursue his independent practice in Padua, where the overwhelming artistic influence on him for the preceding few years had come from the wealth of sculpture produced by the Florentine Donatello for the high altar of San Antonio finished by Years as court painter in Mantua Mantegna has been characterized as strongly jealous of his independence; yet by entering the service of the marchese di Montova MantuaLudovico Gonzagainhe was forced to submit to limitations on his freedom of travel and acceptance of commissions from other patrons.
During this decade —70Mantegna produced his finest small-scale works, such as The Circumcision and the Venice St. The Virgin and Child, engraving on laid paper sheet by Andrea Mantegna, s?
Earlier practitioners of 15th-century perspective delimited a rectangular field as a transparent window onto the world and constructed an imaginary space behind its front plane. In the Camera degli Sposi, however, Mantegna constructed a system of homogeneous decoration on all four walls of the room, mainly by means of highly realistic painted architectural elements on walls and ceilings, which from ground level convincingly imitate three-dimensionally extended shapes.
Though the ceiling is flat, it appears concave. Directly above the centre of the room is a painted oculus, or circular opening to the sky, with putti nude, chubby child figures and women around a balustrade in dramatically foreshortened perspective.
It demonstrates the technique of sotto in su. Its implications for the future of ceiling decoration were largely unrealized, however, until the time of Correggioa major northern Italian painter of the early 16th century, who employed the same type of illusionism in a series of domes in Parma Italy.
Furthermore, the idea of total spatial illusion generated by Mantegna was not fully exploited until inventors of ingenious schemes of ceiling decoration in the Baroque era the 17th centurysuch as Giovanni Lanfranco and Andrea Pozzoutilized a basically identical concept of total illusion dependent upon the location of a hypothetical viewer standing at a single point in the room.
While at the Gonzaga court, Mantegna attained a position of great respect. His close relations with his patron Ludovico were a unique phenomenon at such an early date. In these paintings, reflecting the classical tastes of his new patron, FrancescoMantegna reached the peak of his late style.
Notwithstanding ill health and advanced age, Mantegna worked intensively during the remaining years of his life.
In Francesco ordered the Madonna of the Victory to commemorate his supposed victory at the Battle of Fornovo. A third canvas intended for this program, with the legend of the god Comus, was unfinished when Mantegna died and was completed by his successor at the Gonzaga court, Lorenzo Costa. No other 15th-century artist was dignified by having a funerary chapel dedicated to him in the major church of the city where he worked, which attests to the high stature Mantegna came to enjoy in his adopted city.
By placing the Virgin and saints of the S. Zeno altarpiece in a unified space continuous with its frame, Mantegna introduced new principles of illusionism into sacra conversazione paintings i.DO YOU KNOW THE OLDEST ART EVER FOUND? Oldest Works of Stone Age Art.
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Lamentation over the Dead Christ. By Andrea Mantegna. Noted for its treatment of perspective, this famous work of the Italian Renaissance is consdered to be one of the Greatest Paintings Ever.
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The name Andrea is of Greek origin. The meaning of Andrea is "strong, manly, brave". Andrea is generally used as a girl's name. It consists of 6 letters and 3 syllables and is pronounced An-dre-a.