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