Andrea Mantegna
Andrea Mantegna's Oil Paintings
Andrea Mantegna Museum
(c. 1431 – c. 1506), a North Italian Renaissance painter.

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Here are all the paintings of Mantegna 02

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
8056 Suite of Cardinal Francesco (detail) ag Mantegna Suite of Cardinal Francesco (detail) ag 1471-74 Fresco Camera degli Sposi, Ducal Palace, Mantua
38455 The adoration of the Konige Mantegna The adoration of the Konige mk137 ca.1497-1500 Tempera and gold on linen 54.6x70cm
8044 The Adoration of the Shepherds sf Mantegna The Adoration of the Shepherds sf c. 1451-53 Tempera on canvas tranferred from wood, 40 x 55,6 cm Metropolitan Museum of Art, New York
2730 The Agony in the Garden Mantegna The Agony in the Garden 1460 National Gallery, London
42901 The Agony in the Garden Mantegna The Agony in the Garden mk170 Circa 1460 Tempera on wood 62.9x80cm
59746 The Agony in the Garden Mantegna The Agony in the Garden The Agony in the Garden (right panel of the predella of the San Zeno Altarpiece, 1455) National Gallery, London is the pinnacle of Mantegna's early style.
23365 The Agony in the Garden (nn03) Mantegna The Agony in the Garden (nn03) c 1460 Tempera on panel 63 x 0 cm 24 3/4 x 31 1/2 in National Gallery London
42269 The Battle of the Sea God with the initial of the artist and the date Mantegna The Battle of the Sea God with the initial of the artist and the date mk168 1494 Pen and ink on paper 292x382mm
42267 The Battle of the Sea Gods Mantegna The Battle of the Sea Gods mk168 Engraving in two parts 313x438mm
42271 The Castle and Town of Arco Mantegna The Castle and Town of Arco mk168 Watercolor and body color on paper 223x222mm
85842 The Court of Gonzaga Mantegna The Court of Gonzaga Date between 1465(1465) and 1474(1474) Medium Walnut oil on plaster Dimensions Height: 805 cm (316.9 in). Width: 807 cm (317.7 in). cjr
88001 The Court of Gonzaga Mantegna The Court of Gonzaga Date between 1465(1465) and 1474 cyf
88002 The Court of Gonzaga Mantegna The Court of Gonzaga Date between 1465(1465) and 1474 cyf
88003 The Court of Gonzaga Mantegna The Court of Gonzaga Date between 1465(1465) and 1474 cyf
88004 The Court of Gonzaga Mantegna The Court of Gonzaga Date between 1465(1465) and 1474 cyf
88005 The Court of Gonzaga Mantegna The Court of Gonzaga Date between 1465(1465) and 1474 cyf
88006 The Court of Gonzaga Mantegna The Court of Gonzaga Date between 1465(1465) and 1474(1474) cyf
90025 The Court of Gonzaga Mantegna The Court of Gonzaga between 1465(1465) and 1474(1474) Medium Walnut oil on plaster cyf
8057 The Court of Mantua (detail) ef Mantegna The Court of Mantua (detail) ef 1471-74 Fresco Camera degli Sposi, Ducal Palace, Mantua
8055 The Court of Mantua (detail) g Mantegna The Court of Mantua (detail) g 1471-74 Fresco Camera degli Sposi, Ducal Palace, Mantua
59750 The court of Mantua, fresco for the Camera degli Sposi of Palazzo Ducale, Mantua. 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.
2727 The Crucifixion Mantegna The Crucifixion 1456-59 Musee du Louvre, Paris
2715 The Dead Christ Mantegna The Dead Christ Brera Gallery, Milan
25954 The Dead Christ (mk45) Mantegna The Dead Christ (mk45) c.1480 Tempera on canvas 66x81.3cm Milan,Pinacoteca di Brera
28604 The Death of the Virgin Mantegna The Death of the Virgin mk61 c.1460 Tempera on panel 54x42cm
33410 The Gonzaga Family and Retinue finished Mantegna The Gonzaga Family and Retinue finished mk86 1474 Fresco,600x807cm Mantua,Palazzo Ducale, Camera degli Sposi
21236 The Gonzaga Family and Retinue finished (mk080 Mantegna The Gonzaga Family and Retinue finished (mk080 1474 Fresco 600x807cm Mantua,Palazzo Ducale,Camera degli Sposi
42911 The Holy Fmaily with Saint John Mantegna The Holy Fmaily with Saint John mk170 circa 1500 Tempera on canvas 71.1x50.8cm
42270 THe Infant Christ Mantegna THe Infant Christ mk168 1495 Pen and ink on paper 175x216mm
40263 The Lamentation over the Dead Christ Mantegna The Lamentation over the Dead Christ mk156 c.1490 Tempera on canvas 68x81cm
59752 The Lamentation over the Dead Christ Mantegna The Lamentation over the Dead Christ The Lamentation over the Dead Christ Tempera on canvas, 68x81 cm, 1490 Pinacoteca di Brera, Milan.
8051 The Lamentation over the Dead Christ st Mantegna The Lamentation over the Dead Christ st c. 1490 Tempera on canvas, 68 x 81 cm Pinacoteca di Brera, Milan
85917 The Madonna and Child with Saints Joseph Mantegna 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 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, 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 Mantegna The Madonna and the Nino mk166 1489-1490 Tempera on board of wood 29x21.5cm Uffizi, Florence
59751 The Madonna of the Cherubim Mantegna The Madonna of the Cherubim The Madonna of the Cherubim (1485).
8050 The Madonna of the Cherubim sg Mantegna The Madonna of the Cherubim sg c. 1485 Panel, 88 x 70 cm Pinacoteca di Brera, Milan
2716 The Meeting Mantegna The Meeting 1474 Palazzo Ducale, Mantua, Italy
87995 The Meeting Mantegna The Meeting between 1465(1465) and 1474 cyf
87996 The Meeting Mantegna The Meeting between 1465(1465) and 1474 cyf
87997 The Meeting Mantegna The Meeting between 1465(1465) and 1474 cyf
87998 The Meeting Mantegna The Meeting Date between 1465(1465) and 1474 cyf
87999 The Meeting Mantegna The Meeting Date between 1465(1465) and 1474 cyf
88000 The Meeting Mantegna The Meeting Date between 1465(1465) and 1474 cyf
57230 The Passion of Jesus as Mantegna 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 Mantegna The Presentaion in the Temple mk52 c.1460 Tempera on canvas 68.9x86.3cm Gemaldegalerie,Berlin
23992 The Triumphs of Caesar (mk25) Mantegna The Triumphs of Caesar (mk25) c 1485-94
42910 The Virgin and Child with the Magadalen and Saint John the Baptist Mantegna The Virgin and Child with the Magadalen and Saint John the Baptist mk170 circa 1500 Tempera on canvas 139.1x116.8cm
29793 Triptych Mantegna Triptych mk67 Tempera on panel 33 7/8x63 9/16in
81757 Triumph des Scipio Mantegna Triumph des Scipio English: c. 1500 Medium Oil on panel cyf
94674 Triumph of the Virtues Mantegna Triumph of the Virtues 1502 Type Tempera on canvas Dimensions 160 cm x 192 cm (63 in x 76 in) cyf
94670 Trivulzio Madonna Mantegna Trivulzio Madonna 1497 Type Tempera on canvas Dimensions 287 cm x 214 cm (113 in x 84 in) cyf
32390 View of the West and North Walls Mantegna View of the West and North Walls 1465-74
8053 View of the West and North Walls sg Mantegna View of the West and North Walls sg 1465-74 Camera degli Sposi, Ducal Palace, Mantua
20078 Virgin and Child Surrounded by Six Saints and Gianfrancesco II Gonzaga (mk05) Mantegna 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 Mantegna Virgin Marie dod mk234 about 1460 54x42cm
38541 Would baptize Christs Mantegna Would baptize Christs mk137 ca.1500-1505 Tempera on linen 228x175cm church SAINT Andrea, Mantua

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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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