All the oil paintings of Andrea Mantegna

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ID	Image	Painting(From A to Z)	Details
90025		The Court of Gonzaga	between 1465(1465) and 1474(1474) Medium Walnut oil on plaster cyf
59750		The court of Mantua, fresco for the Camera degli Sposi of Palazzo Ducale, Mantua.	The court of Mantua, fresco for the Camera degli Sposi of Palazzo Ducale, Mantua.
2727		The Crucifixion	1456-59 Musee du Louvre, Paris
2715		The Dead Christ	Brera Gallery, Milan
25954		The Dead Christ (mk45)	c.1480 Tempera on canvas 66x81.3cm Milan,Pinacoteca di Brera
28604		The Death of the Virgin	mk61 c.1460 Tempera on panel 54x42cm
21236		The Gonzaga Family and Retinue finished (mk080	1474 Fresco 600x807cm Mantua,Palazzo Ducale,Camera degli Sposi
42911		The Holy Fmaily with Saint John	mk170 circa 1500 Tempera on canvas 71.1x50.8cm
42270		THe Infant Christ	mk168 1495 Pen and ink on paper 175x216mm
40263		The Lamentation over the Dead Christ	mk156 c.1490 Tempera on canvas 68x81cm
59752		The Lamentation over the Dead Christ	The Lamentation over the Dead Christ Tempera on canvas, 68x81 cm, 1490 Pinacoteca di Brera, Milan.
85917		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 cyf
82442		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 cjr
41955		The Madonna and the Nino	mk166 1489-1490 Tempera on board of wood 29x21.5cm Uffizi, Florence
59751		The Madonna of the Cherubim	The Madonna of the Cherubim (1485).
2716		The Meeting	1474 Palazzo Ducale, Mantua, Italy
87995		The Meeting	between 1465(1465) and 1474 cyf
87996		The Meeting	between 1465(1465) and 1474 cyf
87997		The Meeting	between 1465(1465) and 1474 cyf
87998		The Meeting	Date between 1465(1465) and 1474 cyf
87999		The Meeting	Date between 1465(1465) and 1474 cyf
88000		The Meeting	Date between 1465(1465) and 1474 cyf
57230		The Passion of Jesus as	mk255 about the year 1457-1459. Plastic dye painting, oil painting, wood is about 0.76 meters, 0.96 meters wide. Paris, the Louvre.
26711		The Presentaion in the Temple	mk52 c.1460 Tempera on canvas 68.9x86.3cm Gemaldegalerie,Berlin
23992		The Triumphs of Caesar (mk25)	c 1485-94
42910		The Virgin and Child with the Magadalen and Saint John the Baptist	mk170 circa 1500 Tempera on canvas 139.1x116.8cm
29793		Triptych	mk67 Tempera on panel 33 7/8x63 9/16in
81757		Triumph des Scipio	English: c. 1500 Medium Oil on panel cyf
94674		Triumph of the Virtues	1502 Type Tempera on canvas Dimensions 160 cm x 192 cm (63 in x 76 in) cyf
94670		Trivulzio Madonna	1497 Type Tempera on canvas Dimensions 287 cm x 214 cm (113 in x 84 in) cyf
20078		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
53698		Virgin Marie dod	mk234 about 1460 54x42cm
38541		Would baptize Christs	mk137 ca.1500-1505 Tempera on linen 228x175cm church SAINT Andrea, Mantua

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.