Il Ritratto del cardinale Ludovico Trevisan è un dipinto tempera su tavola (44,8x33,9 cm) di Andrea Mantegna, databile al 1459-1460 e conservato nella Gemäldegalerie di Berlino. Get exclusive access to content from our 1768 First Edition with your subscription. L'uomo ha una carnagione scura ed indossa l'abito di protonotaro apostolico, carica che Carlo de' Medici ottenne effettivamente nel 1463. Squarcione taught him Latin and instructed him to study fragments of Roman sculpture. https://www.britannica.com/biography/Andrea-Mantegna, Art Encyclopedia - Biography of Andrea Mantegna, National Gallery of Art - Biography of Andrea Mantegna, Web Gallery of Art - Biography of Andrea Mantegna, Catholic Encyclopedia - Biography of Andrea Mantegna, Andrea Mantegna - Student Encyclopedia (Ages 11 and up). The full text of the article is here →, Presentation of Christ in the temple, detail (Self-Portrait) - Andrea Mantegna, http://en.wikipedia.org/wiki/Andrea_Mantegna, Madonna and Child with Seraphim and Cherubim, Minerva Chasing the Vices from the Garden of Virtue, Madonna with St. Mary Magdalene and St. John the Baptist, Madonna with saints St. John theBaptist, St. Gregory I the Great, St. Benedict, The Martyrdom and transporting the body of Saint Christopher. The same year Mantegna was called, together with Nicolò Pizolo, to work with a large group of painters entrusted with the decoration of the Ovetari Chapel in the transept of the church of the Eremitani. Andrea Mantegna (Italian: [anˈdrɛːa manˈteɲɲa]; c. 1431 – September 13, 1506) was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini. His first work, now lost, was an altarpiece for the church of Santa Sofia in 1448.       L'Assunzione della Vergine, 1448-1457 In Mantegna’s century, overcoming the experience of alienation from antiquity through the study and revitalization of its architectural and sculptural vocabulary was an obsessive theme. Let us know if you have suggestions to improve this article (requires login). A teacher of painting and a collector of antiquities in Padua, Squarcione drew the cream of young local talent to his studio, which some of his protégés, such as Mantegna and the painter Marco Zoppo, later had cause to regret. Britannia Kids Holiday Bundle! Omissions? Andrea Mantegna | Ritratto di Carlo de' Medici l Ritratto di Carlo de' Medici è un dipinto, tempera su tavola (40,5x29,5 cm), di Andrea Mantegna, databile al 1466 circa e conservato nella Galleria degli Uffizi a … Ritratto di Carlo de' Medici, 1466 circa Il Trionfo della Virtù, 1502 circa, Giorgio Vasari | Le vite | Andrea Mantegna. Art in Tuscany | Italian Renaissance painting Cosimo I gli fece erigere nel Duomo di Prato la tomba dallo scultore Vincenzo Danti. 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 1450). 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. La luce illumina parzialmente il volto di un uomo di mezza età, con occhi chiari di notevole verismo e intensità, modellando il volume della figura nello spazio. Giovanni Bellini’s response to Mantegna’s style has been termed a dialogue, but Mantegna’s reaction to Donatello’s works might more aptly be called a struggle or even a dialectic. This extension of illusionistic principles to the elements surrounding a picture anticipates Mantegna’s San Zeno altarpiece, where the carved half columns of the frame abut the painted piers (vertical members) on the front plane of the picture space, so that the frame architecture serves as the exterior of the temple-pavilion architecture depicted in the painting. He later claimed that Squarcione had profited from his work without paying the rights. AA.VV., Galleria degli Uffizi, collana I Grandi Musei del Mondo, Scala Group, Roma 2003. Elenco opere in ordine cronologico 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. In 1448, at age 17, Mantegna disassociated himself from Squarcione’s guardianship to establish his own workshop in Padua, later claiming that Squarcione had profited considerably from his services without giving due recompense. La figura tarchiata in abito rosso che compare a destra del catafalco del santo, indicata da Vasari, non assomiglia per niente al ritratto di Mantegna, mentre più simile è l'uomo ritratto immediatamente alle sue spalle. by lowering the horizon in order to create a sense of greater monumentality. Luogo di nascita è Isola di Carturo (oggi denominata Isola Mantegna), un borgo nei pressi di Padova, ma che all'epoca era sotto il contado vicentino. Ecce Homo, 1500 circa His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. Giorgio Vasari | Le vite de' più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a' tempi nostri | Andrea Mantegna Il personaggio è stato a lungo identificato con un Gonzaga, ma già nel 1912 lo Schaeffer lo identificò del cardinal Carlo tramite la riproduzione dell'albero genealogico dei Medici inciso da Martino Rota nel 1589 ca..>> Mantegna presumably saw Castagno’s frescoes of evangelists and saints in the church of San Zaccaria during a visit to Venice in 1447. Tatjana Pauli, Mantegna, serie Art Book, Leonardo Arte, Milano 2001. On the other hand, through a process of artistic synthesis, Mantegna sensed the forces and significances below the surfaces of Roman grandeur. 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. 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 Forlì school of painting. 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. 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 Paris, were 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. Our editors will review what you’ve submitted and determine whether to revise the article. You’ll need to know your Monet from your Manet—and a whole lot more—to make it through these questions from some of Britannica’s most popular quizzes. With the influx of scholars from all over Europe and Italy, an atmosphere of internationalism prevailed. Il meglio della Maremma | Case Vacanze | Podere Santa Pia, Century-old olive trees, between Podere Santa Pia and Cinigiano, Ritratto del cardinale Ludovico Trevisan, 1459-1460. Andrea Mantegna (Italian: [anˈdrɛːa manˈteɲɲa]; c. 1431 – September 13, 1506) was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini. Il Polittico di San Luca, 1453-1455 However, at the age of seventeen, Mantegna separated himself from Squarcione. The award to Mantegna of the important commission for an altarpiece for the church of Santa Sofia (1448), now lost, demonstrates his precocity, since it was unusual for so young an artist to receive such a commission. Le ipotesi più suffragate oggi identificano il soggetto del dipinto in Carlo de' Medici, figlio naturale di Cosimo il Vecchio e di una schiava circassa, la cui carnagione scura sarebbe l'indizio più evidente. La Camera degli Sposi (1465-1474) Parnaso, 1497 L'esame a raggi infrarossi ha rivelato un disegno preparatorio nel solo colletto: i tratti del volto furono forse abbozzati su disegni a matita eseguiti dal vero e poi trasferiti sulla tavola direttamente col pennello. Mantegna’s friendly relations with several humanists, antiquarians, and university professors are a matter of record, and hence he may be seen as one of the earliest Renaissance artists to fraternize from a position of intellectual equality with such men. (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 than 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. Mantegna was born in Isola di Carturo, Republic of Venice close to Padua (now Italy), second son of a carpenter, Biagio. L'incertezza dell'autografia (avvertita dalla Tietze-Conrat) è dovuta al cattivo stato di conservazione dell'opera per la consunzione del colore. Andrea Mantegna, (born 1431, Isola di Cartura [near Vicenza], Republic of Venice [Italy]—died September 13, 1506, Mantua), painter and engraver, the first fully Renaissance artist of northern Italy. As many as 137 painters and pictorial students passed through Squarcione's school, which had been established towards 1440 and which became famous all over Italy. The experience of the Paduan milieu was thus decisive for the formation of Mantegna’s attitude toward the Classical world, which may perhaps be characterized best as double faceted. 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. Please select which sections you would like to print: Corrections? Grande cura è riposta invece nella descrizione degli attributi legati allo status e al ruolo pubblico del soggetto, quali l'abito vermiglio di tessuto pesante e il cappello a cuffia. Andrea Mantegna (UK: / m æ n ˈ t ɛ n j ə /, US: / m ɑː n ˈ t eɪ n j ə /, Italian: [anˈdrɛːa manˈteɲɲa]; c. 1431 – September 13, 1506) was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini.. Like other artists of the time, Mantegna experimented with perspective, e.g. In the St. James Led to Martyrdom in the lowest row on the left wall, painted sometime between 1453 and 1455, both Mantegna’s mastery of di sotto in su (from below to above) perspective and his use of archaeologically correct details of Roman architecture are already apparent. He also led a workshop that was the leading producer of prints in Venice before 1500. L'incertezza dell'autografia (avvertita dalla Tietze-Conrat) è dovuta al cattivo stato di conservazione dell'opera per la consunzione del colore. A lungo attribuito a Domenico Veneziano, fu il Ricci ad avanzare il nome del Mantegna. Mantegna’s starting point had been a still earlier form of antique revival—the monumental Tuscan figure style brought to Venice by the Florentine painter Andrea del Castagno in 1442. Like his famous compatriot Petrarca, Squarcione was something of a fanatic for ancient Rome: he traveled 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. Ritratto virile è un dipinto tempera su tavola (24,2x19 cm) attribuito ad Andrea Mantegna, databile al 1460 - 1470 circa e conservato nella National Gallery of Art di Washington D.C.
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