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

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Andrea Mantegna
The Meeting
Date between 1465(1465) and 1474 cyf
ID: 88000

Andrea Mantegna The Meeting
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Andrea Mantegna The Meeting


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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.   Related Paintings of Andrea Mantegna :. | Triptych | The Court of Gonzaga | The Court of Gonzaga | Christus als Schmerzensmann | The Death of the Virgin |
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Russian Painter, 1844-1905 was a Russian realist painter born in the city of Taganrog in the village Frankovka or Baronovka, named after former governor Otto Pfeilizer-Frank. Today this area is occupied by Taganrog Iron and Steel Factory TAGMET. Savitsky's family lived in the building of Taganrog Gymnasium for Boys, where his father worked as a doctor. In Frankovka the family rented a summer house. Savitsky spent his childhood and youth in Taganrog. He showed an interest for painting in the early childhood. Being on the shore of Azov Sea with his parents, he loved to make sketches, and drawing lessons at Gymnasium were his favourite subject. When Konstantin was fifth-grader at Taganrog Gymnasium, his teenager's life changed unexpectedly. Both of his parents died suddenly. Kostya was taken by his uncle who lived in present-day Latvia and became his guardian. There Savitsky entered a private boarding-school and in 1862 he graduated and left for Saint Petersburg, where entered The Imperial Academy of Arts in Saint Petersburg. Personal contacts with outstanding representatives of Russian culture - Ilya Repin, Ivan Shishkin, Viktor Vasnetsov, Mark Antokolski, Stasov, Nikolai Mikhailovich Karamzin - made a great influence on development of the young artist. Soon Savitsky became one of the best students of the Imperial Academy of Arts. His student paintings were awarded with silver medals and for his painting "Cain and Abel"1871 he received a gold medal. House of Savitsky in Taganrog. TaganrogCity.ComAfter graduation from Imperial Academy of Arts and two years abroad, the artist becomes co-partner of mobile art exhibitions (Peredvizhniki, a group of Russian realist artists who in protest to academic restrictions formed an artists' cooperative, which evolved into the Society for Traveling Art Exhibitions in 1870. The artwork "Repairing Railway" was one of the first paintings of that time dedicated to life of the working class. Konstantin Savitsky is a co-author of the famous painting Morning in the Pine Forest. On the original Peredvizhniki exhibition the painting was shown by two authors Ivan Shishkin and Konstantin Savitsky. It was assumed that Savitsky had painted the bears and Shishkin the forest but later the scholars found that preparational drawing of the pine forest were made by both Savitsky and Shishkin. Later Savitsky withdrew his signature from the painting and it is currently exponated as a sole Shishkin's work. The titles of his artworks as "Lost all their possessions in the fire", "To war", "Herdsmen", "Krutchnik",
Girolamo Nerli
1860-1926,was an Italian painter who worked and travelled in Australia and New Zealand in the late 19th century influencing Charles Conder and Frances Hodgkins and helping to move Australian and New Zealand art in new directions. His portrait of Robert Louis Stevenson in the Scottish National Portrait Gallery Edinburgh, is usually considered the most searching portrayal of the writer. Born in Siena in Italy to an Italian aristocrat, Ferdinando Pieri Nerli, his full name was Girolamo Pieri Pecci Ballati Nerli. The fourth of six children he was not a 'Marchese' as he was sometimes styled, or a 'Count', but a 'patrizio di Siena', a minor distinction marking the great antiquity of his family. His father married Henrietta Medwin, an Englishwoman. Her father Thomas Medwin was a minor literary figure in Byron's circle, the author of Journal of the Conversations of Lord Byron and of The Life of Percy Bysshe Shelley; Medwin was a distant relation of Shelley. Girolamo studied art in Florence under Antonio Ciseri and Giovanni Muzzioli and was a younger member of the Italian Macchiaioli school, the 'patch painters', an Italian movement anticipating French Impressionism. He went to Australia in 1885 spending time in Melbourne and Sydney where he was an associate of Tom Roberts and Arthur Streeton and an influence on Charles Conder at the time of the Heidelberg School. Nerli's role in that movement has been disputed but his presence and influence are undeniable. was an Italian painter who worked and travelled in Australia and New Zealand in the late 19th century influencing Charles Conder and Frances Hodgkins and helping to move Australian and New Zealand art in new directions. His portrait of Robert Louis Stevenson in the Scottish National Portrait Gallery Edinburgh, is usually considered the most searching portrayal of the writer. Born in Siena in Italy to an Italian aristocrat, Ferdinando Pieri Nerli, his full name was Girolamo Pieri Pecci Ballati Nerli. The fourth of six children he was not a 'Marchese' as he was sometimes styled, or a 'Count', but a 'patrizio di Siena', a minor distinction marking the great antiquity of his family. His father married Henrietta Medwin, an Englishwoman. Her father Thomas Medwin was a minor literary figure in Byron's circle, the author of Journal of the Conversations of Lord Byron and of The Life of Percy Bysshe Shelley; Medwin was a distant relation of Shelley. Girolamo studied art in Florence under Antonio Ciseri and Giovanni Muzzioli and was a younger member of the Italian Macchiaioli school, the 'patch painters', an Italian movement anticipating French Impressionism. He went to Australia in 1885 spending time in Melbourne and Sydney where he was an associate of Tom Roberts and Arthur Streeton and an influence on Charles Conder at the time of the Heidelberg School. Nerli's role in that movement has been disputed but his presence and influence are undeniable.






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