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 :. | The Court of Gonzaga | A Bacchanal with silengus | The Meeting | Madonna and Child | Freskenzyklus in der Camera degli Sposi im Palazzo Ducale in Mantua, Szene: Zusammentreffen von Herzog Ludovico Gonzaga mit Kardinal Francesco Gonzaga |
Related Artists:john D.rockefeller
new york metropolian museum, cloisters collectionBarbara Bodichon
was an English educationalist, artist, and a leading early nineteenth century feminist and activist for women's rights. She was the illegitimate child of Anne Longden, a 25-year-old milliner from Alfreton, and Benjamin Leigh Smith (1783-1860) , an MP's only son, who was himself a Radical MP for Norwich. Benjamin (Ben) had four sisters. One, Fanny Smith, married into the Nightingale family and produced a daughter, Florence Nightingale; another married into the Bonham-Carter family. Ben's father wanted him to marry Mary Shore, the sister of William Nightingale, now an in law by marriage Ben Smith's home was in Marylebone, London, but from 1816 he inherited and purchased property near Hastings: Brown's Farm near Robertsbridge, with a house built around 1700 (extant), and Crowham Manor, Westfield, which included 200 acres. Although a member of the landed gentry, Smith held radical views. He was a Dissenter, a Unitarian, a supporter of Free Trade, and a benefactor to the poor. In 1826 he bore the cost of building a school for the inner city poor at Vincent Square, Westminster, and paid a penny a week towards the fees for each child, the same amount as paid by their parents. On a visit to his sister in Derbyshire in 1826 Smith met Anne Longden, a 25-year-old milliner from Alfreton. She became pregnant and Smith took her to a rented lodge at Whatlington, a small village near Battle, East Sussex. There she lived as 'Mrs Leigh', the surname of Ben Smith's relations on the Isle of Wight. Barbara's birth created a scandal because the couple did not marry. Smith rode on horseback from Brown's Farm to visit them daily, and within eight weeks Anne was pregnant again. When little Ben was born the four of them went to America for two years, during which time another child was conceived. On their return to Sussex they lived openly together at Brown's, and had two more children. After their last child was born, in 1833, Anne became ill with tuberculosis and Smith leased 9 Pelham Crescent, which faced the sea at Hastingsgeorge grosz
george grosz(1893 to 1959),German painter, draughtsman and illustrator. He is particularly valued for his caustic caricatures, in which he used the reed pen with notable success. Although his paintings are not quite as significant as his graphic art, a number of them are, nonetheless, major works. He grew up in the provincial town of Stolp, Pomerania (now Slupsk, Poland), where he attended the Oberrealschule, until he was expelled for disobedience. From 1909 to 1911 he attended the Akademie der K?nste in Dresden, where he met Kurt G?nther, Bernhard Kretschmar (1889-1972) and Franz Lenk (b 1898). Under his teacher Richard M?ller (1874-1954), Grosz painted and drew from plaster casts. At this time he was unaware of such avant-garde movements as Die Br?cke, also active in Dresden. In 1912 he studied with Emil Orlik at the Kunstgewerbeschule in Berlin. A year later he moved to the Acad?mie Colarossi in Paris, where he learnt a free drawing style that swiftly reached the essence of a motif.