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Locatelli died in debt in 1741 after "a dissolute life". |
Notes |
References |
Vici, Andrea Busiri (1976). Andrea Locatelli and Roman Landscape Painting of the Eighteenth Century. Rome: Ugo Bozzi. OCLC 2777849. |
Farquhar, Maria (1855). "Lucatelli". In Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. London: John Murray. pp. 90–91. OCLC 220878795. Retrieved 2008-11-29. |
Bryan, Michael; George Stanley (1849). "Lucatelli". A Biographical Dictionary of Painters and Engravers. London: H. G. Bohn. pp. 423–424. OCLC 8648216. Retrieved 2008-11-29. |
Andrea Mantegna (UK: , US: , Italian: [anˈdrɛːa manˈteɲɲa]; c. 1431 – September 13, 1506) was an Italian Renaissance 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. by lowering the horizon in order to create a sense of greater monumentality. His flinty, metallic landscapes, and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the lead... |
Biography |
Youth and education |
Mantegna was born in Isola di Carturo, Venetian Republic close to Padua. He was the second son of a carpenter, Biagio. At the age of 11, he became apprenticed to Paduan painter Francesco Squarcione. Squarcione, whose original profession was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a f... |
As many as 137 painters and pictorial students passed through Squarcione's school, which had been established around 1440 and which became famous all over Italy. Padua attracted artists not only from the Veneto but also from Tuscany, such as Paolo Uccello, Filippo Lippi and Donatello; Mantegna's early career was shaped... |
Mantegna's first work, now lost, was an altarpiece for the church of Santa Sofia in 1448. The same year he 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 Sant'Agostino degli Eremitani. It is probable, however, th... |
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. Though much less dramatic in its perspective than the St. James picture, the San Zeno altarpiece was around 1455 not ... |
The sketch for the St. Stephen fresco survived and is the earliest known preliminary sketch which still survives to compare with the corresponding fresco. The drawing shows proof that nude figures—which were later painted as clothed—were used in the conception of works during the Early Renaissance. In the preliminary s... |
Among the other early Mantegna frescoes are the two saints over the entrance porch of the church of Sant'Antonio in Padua, 1452, and the 1453 San Luca Altarpiece, with St. Luke and other saints, for the church of S. Giustina and now in the Brera Gallery in Milan. As the young artist progressed in his work, he came unde... |
Aesthetic |
Mantegna was criticized for his body forms being too statuesque. His art, however, differentiates between ancient classical aesthetics in nude forms and purposeful depictions of sculptural illusion. The age-old criticism stems from Mantegna's master teacher Francesco Squarcione of Padua, described in Giorgio Vasari's T... |
Andrea seems to have been influenced by his old preceptor's strictures, although his later subjects, for example, those from the legend of St. Christopher, combine his sculptural style with a greater sense of naturalism and vivacity. Trained as he had been in the study of marbles and the severity of the antique, Manteg... |
Mantegna never changed the manner which he had adopted in Padua, though his coloring—at first neutral and undecided—strengthened and matured. Throughout his works there is more balancing of color than fineness of tone. One of his great aims was optical illusion, carried out by a mastery of perspective which, though not... |
Successful and admired though he was there, Mantegna left his native Padua at an early age, and never returned there; the hostility of Squarcione has been cited as the cause. He spent the rest of his life in Verona, Mantua and Rome; it has not been confirmed that he also stayed in Venice and Florence. In Verona between... |
Work in Mantua |
The Marquis Ludovico III Gonzaga of Mantua had for some time been pressing Mantegna to enter his service; and the following year, 1460 Mantegna was appointed court artist. He resided at first from time to time at Goito, but, from December 1466 onwards, he moved with his family to Mantua. His engagement was for a salary... |
His Mantuan masterpiece was painted for the court of Mantua, in the apartment of the Castle of the city, today known as Camera degli Sposi (literally, "Wedding Chamber") of Palazzo Ducale, Mantua: a series of full compositions in fresco including various portraits of the Gonzaga family and some figures of genii and ot... |
The Chamber's decoration was finished presumably in 1474. The ten years that followed were not happy ones for Mantegna and Mantua: Mantegna grew irritable, his son Bernardino died, as well as the Marchese Ludovico, his wife Barbara and his successor Federico (who had dubbed Mantegna cavaliere, "knight" ). Only with the... |
In 1488 Mantegna was called by Pope Innocent VIII to paint frescoes in a chapel Belvedere in the Vatican. This series of frescoes, including a noted Baptism of Christ, was later destroyed by Pius VI in 1780. The pope treated Mantegna with less liberality than he had been used to at the Mantuan court; but all things con... |
In what was now his city he went on with the nine tempera pictures of the Triumphs of Caesar, which he had probably begun before his leaving for Rome, and which he finished around 1492. These superbly invented and designed compositions are gorgeous with the splendor of their subject matter, and with the classical learn... |
Later years |
Despite his declining health, Mantegna continued to paint. Other works of this period include the Madonna of the Caves, the St. Sebastian and the famous Lamentation over the Dead Christ, probably painted for his personal funerary chapel. Another work of Mantegna's later years was what is known as the Madonna della Vitt... |
After 1497, Mantegna was commissioned by Isabella d'Este to translate the mythological themes written by the court poet Paride Ceresara into paintings for her private apartment (studiolo) in the Palazzo Ducale. These paintings were dispersed in the following years: one of them, the legend of the God Comus, was left unf... |
After the death of his wife, Mantegna became at an advanced age the father of an illegitimate son, Giovanni Andrea; and, finally, although he continued embarking on various expenses and schemes, he had serious tribulations, such as the banishment from Mantua of his son Francesco, who had incurred the displeasure of the... |
Very soon after this transaction he died in Mantua, on September 13, 1506. In 1516, a handsome monument was set up to him by his sons in the church of Sant'Andrea, where he had painted the altarpiece of the mortuary chapel. The dome is decorated by Correggio. |
Engravings |
Mantegna was no less eminent as an engraver, though his history in that respect is somewhat obscure, partly because he never signed or dated any of his plates, but for a single disputed instance of 1472. The account which has come down to us from Vasari (who was, as usual, keen to assert that everything flows from Flor... |
Among the principal examples are: Battle of the Sea Monsters, Virgin and Child, a Bacchanal Festival, Hercules and Antaeus, Marine Gods, Judith with the Head of Holofernes, the Deposition from the Cross, the Entombment, the Resurrection, the Man of Sorrows, the Virgin in a Grotto, and several scenes from the Triumph of... |
Neither Mantegna or his workshop are now believed to have produced the so-called Mantegna Tarocchi cards. |
Assessment and legacy |
Giorgio Vasari eulogizes Mantegna, although pointing out his litigious character. He had been fond of his fellow pupils in Padua: and with two of them, Dario da Trevigi and Marco Zoppo, he retained steady friendships. Mantegna became very expensive in his habits, fell at times into financial difficulties, and had to pr... |
In terms of Classical taste, Mantegna distanced all contemporary competition. Though substantially related to the 15th century, his influence on the style and trends of his age was very marked over Italian art generally. Giovanni Bellini, in his earlier works, obviously followed the lead of his brother-in-law Andrea. A... |
Mantegna's main legacy is considered the introduction of spatial illusionism, both in frescoes and in sacra conversazione paintings: his tradition of ceiling decoration was followed for almost three centuries. Starting from the faint cupola of the Camera degli Sposi, Correggio built on the research of his master and co... |
Major works |
St. Jerome in the Wilderness (c. 1448–1451) - Tempera on wood, 48 × 36 cm, São Paulo Museum of Art, São Paulo, Brazil |
The Adoration of the Shepherds (c. 1451–1453) - Tempera on canvas transferred from wood, 40 × 55,6 cm, Metropolitan Museum of Art, New York City |
San Luca Altarpiece (1453) - Panel, 177 × 230 cm, Pinacoteca di Brera, Milan |
St Euphemia (1454) - Glue on tempera on canvas, 171 × 78 cm, Museo nazionale di Capodimonte, Naples |
Presentation at the Temple (c. 1455) - Tempera on wood, 68.9 × 86.3 cm, Staatliche Museen, Berlin, Germany |
Madonna and Child with Saint Jerome and Saint Louis of Toulouse (c. 1455) - Tempera on panel, Musée Jacquemart-André, Paris |
Crucifixion (1457–1459) - Wood, 67 × 93 cm, Louvre, Paris |
Christ as the Suffering Redeemer (1495–1500) - Tempera on wood, 78 × 48 cm, Statens Museum for Kunst, Copenhagen, Denmark |
Agony in the Garden (c. 1459) - Tempera on wood, 63 × 80 cm, National Gallery, London |
Portrait of Cardinal Ludovico Trevisan, (c. 1459–1460) - Tempera on wood, 44 × 33 cm, Staatliche Museen, Berlin |
St. Bernardino of Siena between Two Angels, (attributed, 1460) - Tempera on canvas, 385 × 220 cm, Pinacoteca di Brera, Milan |
Portrait of a Man (c. 1460–1470) - Wood, 24.2 × 19 cm, National Gallery of Art, Washington, D.C., US |
Death of the Virgin (c. 1461) - Panel, 54 × 42 cm, Museo del Prado, Madrid |
Portrait of Francesco Gonzaga (c. 1461) - Panel, 25 × 18 cm, Capodimonte Museum, Naples |
Madonna with Sleeping Child (c. 1465–1470) - Oil on canvas, 43x32 cm, Staatliche Museen, Berlin |
St. George (c. 1460) - Tempera on panel, 66 × 32 cm, Gallerie dell'Accademia, Venice |
San Zeno Altarpiece (1457–1460) - Panel, 480 × 450 cm, San Zeno, Verona |
St. Sebastian (c. 1457–1459) - Wood, 68 × 30 cm, Kunsthistorisches Museum, Vienna |
St. Sebastian - Panel, 255 × 140 cm, Louvre, Paris |
Adoration of the Magi (1462) - Tempera on panel, 76 × 76.5 cm, Uffizi, Florence |
The Ascension (1462) - Tempera on panel, 86 × 42.5 cm, Uffizi, Florence |
The Circumcision (1462–1464) - Tempera on panel, 86 × 42.5 cm, Uffizi, Florence |
Portrait of Carlo de' Medici (c. 1459–1466) - Tempera on panel, 40.6 × 29.5 cm, Uffizi, Florence |
The Madonna of the Cherubim (c. 1485) - Panel, 88 × 70 cm, Pinacoteca di Brera, Milan |
Triumphs of Caesar (c. 1486) - Hampton Court Palace, England |
The Lamentation over the Dead Christ (c. 1490) - Tempera on canvas, 68 × 81 cm, Pinacoteca di Brera, Milan |
Madonna of the Caves (1489–1490) - Uffizi, Florence |
St. Sebastian (1490) - Panel, 68 × 30 cm, Ca' d'Oro, Venice |
Madonna della Vittoria (1495) - Tempera on canvas, 285 × 168 cm, Louvre, Paris |
Ecce homo (1500)- Tempera on canvas, 54 × 72 cm, Musée Jacquemart-André, Paris |
Holy Family (c. 1495–1500) - Tempera on canvas, 75.5 × 61.5 cm, The Dresden Gallery, Dresden |
Judith and Holofernes (1495) - Egg-tempera on wood, National Gallery of Art, Washington |
Trivulzio Madonna (1497) - Tempera on canvas, 287 × 214 cm, Museo Civico d'Arte Antica, Milan |
Parnassus (Mars and Venus) (1497) - Canvas, 160 × 192 cm, Louvre, Paris |
Minerva Chases the Vices from the Garden of Virtue (c. 1502) Oil on canvas, 160 × 192 cm, Louvre, Paris |
Mantegna's only known sculpture is a Sant'Eufemia in the Cathedral of Irsina, Basilicata. |
Notes |
References |
This article incorporates text from a publication now in the public domain: Rossetti, William Michael (1911). "Mantegna, Andrea". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 17 (11th ed.). Cambridge University Press. pp. 602–603. |
Janson, H.W., Janson, Anthony F.History of Art. Harry N. Abrams, Inc., Publishers. 6 edition. January 1, 2005. ISBN 0-13-182895-9 |
Early Italian Engravings from the National Gallery of Art; J.A. Levinson (ed); National Gallery of Art, 1973, LOC 7379624 |
Martineau, Jane (ed.), Suzanne Boorsch (ed.). Andrea Mantegna (New York: Metropolitan Museum of Art; London: Royal Academy of Arts, 1992) Exhibition Catalog: Metropolitan Museum of Art; Royal Academy of Arts |
Herbermann, Charles, ed. (1913). "Andrea Mantegna" . Catholic Encyclopedia. New York: Robert Appleton Company. |
Berger, John and Katya, Lying Down to Sleep. Corraini Edizioni. 2010. ISBN 9788875702618 |
External links |
Links to all the engravings; see section B |
Video about the St Sebastian by Andrea Mantegna (french) |
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