Thread: Andrea Mantegna (c1431-1506) was an Italian Renaissance painter & antiquarian. His work linked modern painting with Roman antiquity. Oculus, Camera degli Sposi (1465-74), Madonna & Child (c1455) & Portrait of a Man (c1470). He is one of my favourite artists 
Born nr Padua, be studied under Squarcione who was fascinated with antiquity. A life long interest he passed to Mantegna. Polyptych of St Luke & detail of Angel (c1449), Portrait of a Man (1450) & the Apostle Mark (c1450)
Today is the last day of my extended Studio Sale. Two works for £85/€99
Squarcione taught him Latin & he was open to Florentine influences. The two split when Mantegna turned 17. Drawing (c1450), St Bernardine (1450). Despite their break Squarcione imbued in his student a commitment to placing contemporary art in the context of the Roman antique
One of Mantegna’s first major jobs was working on the Ovetari Frescoes (c1450-6), which show the martyrdom of St Christopher. He completed the overall scheme & his style is apparent in the heads & the architecture depicted.
He completed a number of works of a biblical nature as most commissions were in this area in a deeply religious era. Adoration of the Shepherds (1451-3), Study of Four Saints (1456-9) & Crucifixion (1457-9). Aspects of Roman dress & antiquities are apparent.
St Sebastian (1457-8, 1480 & c1490) was painted by him at least 3 times. These show his development & growing confidence. His interest in Roman architecture & a desire to show an antique vista are apparent. So too is increased emotion as he sought to paint spiritual suffering
The San Zeno Polyptych (1457-60) is another work where Mantegna’s research is apparent. A particular feature are the garlands, inspired by Roman sarcophagi. It was the first major Renaissance work in Verona & he is believed to have designed the frame.
In 1453 Mantegna married the sister of Giovanni Bellini & a fascinating result of this is the 2 artists versions of the Agony. Mantegna’s is a homage to stone & antiquity. Bellini’s is relaxed & melodious by comparison The Agony in the Garden (1459) & Bellini’s Agony (1458-60)
Presentation at the Temple (1460), Cardinal Trevisan (1459-60) & St George (1460). The Portrait came about when the Pope commissioned Mantegna to paint the Cardinal who was part of the Council of Mantua (1459). The Council sought to rally Europeans against the Ottomans
One of Mantegna’s masterpieces was the Death of the Virgin. It is notable for the depiction of a harbour in the background. Death of the Virgin (1461), The Adoration of the Magi (c1462), Virgin & Christ (c1450s) & Christ (c1456)
Mantegna’s drawings are marked by their emotive power as well as being studies in how to compose his paintings & explore perspectives. Drawings (c1450s, 1460s, 1468 & 1490). He was more relaxed in his drawings than his painted works.
In 1460 Mantegna was appointed Court artist by Ludovico III Gonzaga at his Ducal Court in Mantua. There he created frescoes in the Camera degli Sposi, Ducal Palace, Mantua (1465-74). These document the Duke & his Court. His oculus is one of the triumphs of the Renaissance
The work in the Wedding Chamber was well rewarded & allowed Mantegna & his family to live in some style. The work is believed by some to be the Duke learning the news that his son was to receive the Cardinal’s hat. This would have been a high point in his diplomatic success
After the Wedding Chamber contemporaries report that Mantegna’s mood changed & he became difficult. His colours deepened. Madonna with Sleeping Child (1465-70), The Epiphany, Circumcision & Ascension (c1466) & the Battle of the Sea Gods (1470s)
Relatively few portraits survive by Mantegna & two of these are superb drawings. Portrait of a Man (1470), Portrait of a Man (1470-5) & Portrait of Francesco Gonzaga (1490-9). Gonzaga is perhaps his greatest drawing & is sensual & psychologically powerful
Mantegna sought to explore the emotion of events in the bible. His works of the Madonna & Child achieve great warmth & love. Madonna of the Cherubim (1485), Madonna of the Cave (1488-90) & Ecce Homo (c1500)
One great interest of his was grisaile paintings. They are designed to look like carved stone & reflect on his interest in antiquity. These include David & Goliath (1490-5), Samson & Goliath (c1500), Judith with Head of Holofernes (1495) & Judgement of Solomon (c1500)
The Lamentation over the Dead Christ (1490) is his greatest work. This is because it is an astonishing essay in foreshortening which was a tour de force. Perspective was seen as a science at the time. The crying Madonna is an intense study of loss.
He continued to explore the subject of the Holy Family in intimate devotionary works as well as large altarpieces. The Holy Family (1495-1500) & Madonna of the Victory (1496). The latter shows Francesco Gonzaga adoring the Virgin. The Red Coral above Her symbolises the Passion
Three of his greatest works are mythological Parnassus (1497), Triumph of the Virtues (1499-1502) & Minerva (1502). Parnassus & the Triumph were for the important patron Isabella d’Este’s study. They have bewitched ever since their creation.
The Triumphs of Caesar (1484-92) are 9 works by Mantegna which have been described as his masterpiece. They were painted for Mantua but acquired by Charles I of England in 1629. They have been badly degraded over time but are still an impressive reconstruction of a Roman Triumph
Mantegna’s work fascinates due to his constant attempt to place biblical events within an archaeologically accurate context - representative of Renaissance learning. His Madonnas are, however, some of the most beautiful examples of Maternal love
Here’s more on my Studio Sale. Ends tonight.
