Las óleos de todo Andrea Mantegna


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ID Image  Painting (From A to Z)       Details 
90025  
Andrea Mantegna, The Court of Gonzaga
 
 The Court of Gonzaga   between 1465(1465) and 1474(1474) Medium Walnut oil on plaster cyf
59750  
Andrea Mantegna, 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.   The court of Mantua, fresco for the Camera degli Sposi of Palazzo Ducale, Mantua.
2727  
Andrea Mantegna, The Crucifixion
 
 The Crucifixion   1456-59 Musee du Louvre, Paris
2715  
Andrea Mantegna, The Dead Christ
 
 The Dead Christ   Brera Gallery, Milan
25954  
Andrea Mantegna, The Dead Christ (mk45)
 
 The Dead Christ (mk45)   c.1480 Tempera on canvas 66x81.3cm Milan,Pinacoteca di Brera
28604  
Andrea Mantegna, The Death of the Virgin
 
 The Death of the Virgin   mk61 c.1460 Tempera on panel 54x42cm
21236  
Andrea Mantegna, The Gonzaga Family and Retinue finished (mk080
 
 The Gonzaga Family and Retinue finished (mk080   1474 Fresco 600x807cm Mantua,Palazzo Ducale,Camera degli Sposi
42911  
Andrea Mantegna, The Holy Fmaily with Saint John
 
 The Holy Fmaily with Saint John   mk170 circa 1500 Tempera on canvas 71.1x50.8cm
42270  
Andrea Mantegna, THe Infant Christ
 
 THe Infant Christ   mk168 1495 Pen and ink on paper 175x216mm
40263  
Andrea Mantegna, The Lamentation over the Dead Christ
 
 The Lamentation over the Dead Christ   mk156 c.1490 Tempera on canvas 68x81cm
59752  
Andrea Mantegna, The Lamentation over the Dead Christ
 
 The Lamentation over the Dead Christ   The Lamentation over the Dead Christ Tempera on canvas, 68x81 cm, 1490 Pinacoteca di Brera, Milan.
85917  
Andrea Mantegna, The Madonna and Child with Saints Joseph
 
 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  
Andrea Mantegna, 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   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  
Andrea Mantegna, The Madonna and the Nino
 
 The Madonna and the Nino   mk166 1489-1490 Tempera on board of wood 29x21.5cm Uffizi, Florence
59751  
Andrea Mantegna, The Madonna of the Cherubim
 
 The Madonna of the Cherubim   The Madonna of the Cherubim (1485).
2716  
Andrea Mantegna, The Meeting
 
 The Meeting   1474 Palazzo Ducale, Mantua, Italy
87995  
Andrea Mantegna, The Meeting
 
 The Meeting   between 1465(1465) and 1474 cyf
87996  
Andrea Mantegna, The Meeting
 
 The Meeting   between 1465(1465) and 1474 cyf
87997  
Andrea Mantegna, The Meeting
 
 The Meeting   between 1465(1465) and 1474 cyf
87998  
Andrea Mantegna, The Meeting
 
 The Meeting   Date between 1465(1465) and 1474 cyf
87999  
Andrea Mantegna, The Meeting
 
 The Meeting   Date between 1465(1465) and 1474 cyf
88000  
Andrea Mantegna, The Meeting
 
 The Meeting   Date between 1465(1465) and 1474 cyf
57230  
Andrea Mantegna, The Passion of Jesus as
 
 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  
Andrea Mantegna, The Presentaion in the Temple
 
 The Presentaion in the Temple   mk52 c.1460 Tempera on canvas 68.9x86.3cm Gemaldegalerie,Berlin
23992  
Andrea Mantegna, The Triumphs of Caesar (mk25)
 
 The Triumphs of Caesar (mk25)   c 1485-94
42910  
Andrea Mantegna, The Virgin and Child with the Magadalen and Saint John the Baptist
 
 The Virgin and Child with the Magadalen and Saint John the Baptist   mk170 circa 1500 Tempera on canvas 139.1x116.8cm
29793  
Andrea Mantegna, Triptych
 
 Triptych   mk67 Tempera on panel 33 7/8x63 9/16in
81757  
Andrea Mantegna, Triumph des Scipio
 
 Triumph des Scipio   English: c. 1500 Medium Oil on panel cyf
94674  
Andrea Mantegna, Triumph of the Virtues
 
 Triumph of the Virtues   1502 Type Tempera on canvas Dimensions 160 cm x 192 cm (63 in x 76 in) cyf
94670  
Andrea Mantegna, Trivulzio Madonna
 
 Trivulzio Madonna   1497 Type Tempera on canvas Dimensions 287 cm x 214 cm (113 in x 84 in) cyf
20078  
Andrea Mantegna, Virgin and Child Surrounded by Six Saints and Gianfrancesco II Gonzaga (mk05)
 
 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  
Andrea Mantegna, Virgin Marie dod
 
 Virgin Marie dod   mk234 about 1460 54x42cm
38541  
Andrea Mantegna, Would baptize Christs
 
 Would baptize Christs   mk137 ca.1500-1505 Tempera on linen 228x175cm church SAINT Andrea, Mantua

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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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