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52-440: Mantegna is a surname. Notable people with the name include: Andrea Mantegna ( c.  1431 – 1506), Italian painter Gia Mantegna (born 1990), American actress Joe Mantegna (born 1947), American actor See also [ edit ] Mantegna Tarocchi , two sets of 15th-century Italian cards with engravings [REDACTED] Surname list This page lists people with

104-633: A masterwork like the dome of Cathedral of Parma . Mantegna's only known sculpture is a Sant'Eufemia in the Cathedral of Irsina , Basilicata . Ovetari Chapel The Ovetari Chapel (Italian: Cappella Ovetari ) is a chapel in the right arm of the Church of the Eremitani in Padua . It is renowned for a Renaissance fresco cycle by Andrea Mantegna and others, painted from 1448 to 1457. The cycle

156-564: A month, a sum so large for that period as to mark conspicuously the high regard in which his art was held. He was in fact the first painter of any eminence to be based in Mantua. 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

208-413: A rectangular base, covered by a cross vault which is connected to a pentagonal apse introduced by an arch, where are a circular opening and four windows which illuminate the chapel. The Chapel was dedicated to the saints James and Christopher. The two lateral walls were dedicated to the stories of each saint, with six episodes placed on three sections. The upper one consisted of a round lunette. Despite

260-457: A redistribution of the works among the artists; perhaps due to this Mantegna halted his work and visited Ferrara . In 1450 Giovanni, who had executed only the decorative festoons of the vault, died; the following year Vivarini also left the work, after he had completed four Evangelists in the vault. They were replaced by Bono da Ferrara and Ansuino da Forlì , whose style was influenced by that of Piero della Francesca . Mantegna began to work from

312-462: A similar painting by the Veronese artist Girolamo dai Libri . 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 of 75 lire

364-536: Is a representation of the Assumption of the Virgin by Mantegna. There are also further fragments, likely painted on the piers. The vault was decorated with Four Evangelists by Antonio Vivarini between festoons by Giovanni d'Alemagna, while the apse was divided into sectors, where Mantegna had frescoed the saints Peter, Paul and Christopher within a stone frame with fruit festoons. These figures show similarities with

416-406: Is characterized by the strongly marked forms of the design, and by the parallel hatching used to produce shadows. The closer the parallel marks, the darker the shadows were. The prints are frequently to be found in two states , or editions. In the first, the prints have been produced using a roller, or even by hand pressing, and they are weak in tint; in the second, a printing press has been used, and

468-400: Is different from Wikidata All set index articles Andrea Mantegna 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

520-414: 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 always mathematically correct, attained an astonishing effect for the times. 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

572-622: Is not a copy of any known Roman structure. Mantegna also adopted the wet drapery patterns of the Romans, who took the form from the Greek invention, for the clothing of his figures, although the tense figures and interactions are derived from Donatello . 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

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624-473: Is possible that Mantegna may have begun engraving while still in Padua , under the tuition of a distinguished goldsmith, Niccolò. He and his workshop engraved about thirty plates, according to the usual reckoning; large, full of figures, and highly studied. It is now considered either that he only engraved seven himself, or none. Another artist from the workshop who made several plates is usually identified as Giovanni Antonio da Brescia (aka Zoan Andrea). Among

676-427: Is said) from models draped in paper and woven fabrics gummed in place. His figures are slim, muscular and bony; the action impetuous but of arrested energy. Finally, tawny landscape, gritty with littering pebbles, marks the athletic hauteur of his style. 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

728-558: Is that Mantegna began engraving in Rome, prompted by the engravings produced by the Florentine Baccio Baldini after Sandro Botticelli . This is now considered most unlikely as it would consign all the numerous and elaborate engravings made by Mantegna to the last sixteen or seventeen years of his life, which seems a brief period for them. Besides, the earlier engravings reflect an earlier period of his artistic style. It

780-637: The Florentine leader visited Mantua in 1483), painted some architectonic and decorative fragments, and finished the intense St. Sebastian now in the Louvre ( box at top ). 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

832-644: The Gonzaga family and some figures of genii and others. The innovative spatial construction of the frescoes, particularly the oculus in the ceiling, had a profound effect on Antonio da Correggio . 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

884-460: The Sant'Agostino degli 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 the Eremitani, which are today considered a masterpiece. After a series of coincidences, Mantegna finished most of the work alone, though Ansuino , who collaborated with Mantegna in

936-618: The Stories of St. James , frescoed the central wall with the Assumption of the Virgin and then completed the lower sector of the Stories of St. Cristopher begun by Bono da Ferrara and Ansuino da Forlì, where he painted two unified scenes: the Martyrdom of St. Christopher . In 1457, Imperatrice Ovetari sued Mantegna, accusing him of having painted, in the Assumption , only eight apostles instead of twelve. Two painters from Milan, Pietro da Milano and Giovanni Storlato, were called in to solve

988-506: The Veneto but also from Tuscany , such as Paolo Uccello , Filippo Lippi and Donatello ; Mantegna's early career was shaped by impressions of Florentine works. At the time, Mantegna was said to be a favorite pupil of Squarcione, who taught him Latin and instructed him to study fragments of Roman sculpture . The master also preferred forced perspective , recollection of which may account for some of Mantegna's later innovations. However, at

1040-412: The surname Mantegna . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Mantegna&oldid=939416685 " Category : Surnames Hidden categories: Articles with short description Short description

1092-550: 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 long after the St. James cycle was finished, and uses many of the same techniques, including an architectural structure based on Classical antiquity. The sketch for the St. Stephen fresco survived and is

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1144-475: The Mantuan court; but all things considered their connection, which ceased in 1500, was not unsatisfactory to either party. Mantegna also met the famous Turkish hostage Jem and carefully studied Rome's ancient monuments, but his impression of the city was a disappointing one overall. Returned to Mantua in 1490, he embraced again his more literary and bitter vision of antiquity, and entered in strong connection with

1196-625: The Most Excellent Painters, Sculptors, and Architects. Pertaining to the Ovetari Chapel frescoes in the Church of Eremitani, Vasari writes that Squarcione stingingly remarked that "Andrea would have done much better with those figures if he had given them the tint of marble and not all those colours; they would have been nearer to perfection since they had no resemblance to life." This is ironic since, according to Vasari, it

1248-465: The Ovetari Chapel, brought his style from the Forlì school of painting. The now critical Squarcione carped about the earlier works of this series, illustrating the life of St James; he said the figures were like men made of stone, and should have been painted stone color. 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

1300-484: The Passion of Christ (never executed), the cross vault and the right wall ( Histories of St. Chrisopther ) while the two Paduans would paint the rest, including the left wall ( Histories of St. James, son of Zebedee ) and the apse. In 1449 there were the first personal problems between Mantegna and Pizzolo, the latter accusing the former of continuous interferences in the execution of the chapel's altarpiece. This led to

1352-466: The age of 17, Mantegna left Squarcione's workshop. He later claimed that Squarcione had profited from his work without sufficient payment. 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

1404-409: The altarpiece of the mortuary chapel. The dome is decorated by Correggio . 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 Florence)

1456-741: The apse vault, where he placed three saints, mixed with the Doctors of the Church by Pizzolo. Later Mantegna likely moved to the lunette on the left wall, with the Vocation of Sts. James and John and the Preaching of St. James , completed within 1450, and then moved to the middle sector. At the end of 1451 the works were halted due to lack of funds. They were restarted in November 1453 and completed in 1457. This second phase saw Mantegna alone at work, as Pizzolo had also died in 1453. Mantegna completed

1508-618: The attention of the Marchese. 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. Albrecht Dürer was influenced by his style during his two trips in Italy, reproducing several of his engravings. Leonardo da Vinci took from Mantegna

1560-427: The banishment from Mantua of his son Francesco, who had incurred the displeasure of the Marchese. The difficult situation of the aged master and connoisseur required the hard necessity of parting with a beloved antique bust of Faustina. 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

1612-856: The church of S. Giustina and now in the Brera Gallery in Milan . As the young artist progressed in his work, he came under the influence of Jacopo Bellini , father of the celebrated painters Giovanni Bellini and Gentile Bellini , and met his daughter Nicolosia. In 1453 Jacopo consented to a marriage between Nicolosia and Mantegna. 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 The Lives of

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1664-480: 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 sketch, the perspective is less developed and closer to a more average viewpoint however. Despite the authentic Classical look of the monument, it

1716-452: The election of Francesco II of the House of Gonzaga did artistic commissions in Mantua recommence. He built a stately house in the area of the church of San Sebastiano, and adorned it with a multitude of paintings. The house can still be seen today, although the pictures no longer survive. In this period he began to collect some ancient Roman busts (which were given to Lorenzo de' Medici when

1768-642: 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 Vittoria , now in the Louvre. It was painted in tempera about 1495, in commemoration of the Battle of Fornovo , whose questionable outcome Francesco Gonzaga was eager to show as an Italian League victory; the church which originally housed

1820-557: The following years: one of them, the legend of the God Comus, was left unfinished by Mantegna and completed by his successor as court painter in Mantua, Lorenzo Costa . The other painters commissioned by Isabella for her studiolo were Perugino and Correggio . 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

1872-692: The frescoes by Andrea del Castagno in the Venetian Church of San Zaccaria (1442), both in the format and their sculptural firmness. Also similar is the cloud on which the figures are standing. In the remaining spaces were the Eternal Father Blessing and the Doctors of the Church within frames, frescoed by Niccolò Pizzolo. The Doctors were majestic figures, the saints being portrayed as Humanist scholars at work in their studios. The arch had two big heads, usually identified as self-portraits by Mantegna and Pizzolo. The decoration of

1924-551: The ink is stronger. Neither Mantegna or his workshop are now believed to have produced the so-called Mantegna Tarocchi cards. 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 press his valid claims for payment upon

1976-559: The leading producer of prints in Venice before 1500. 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 faculty for acting. Like his famous compatriot Petrarca , Squarcione

2028-576: 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, Mantegna openly avowed that he considered ancient art superior to nature as being more eclectic in form. As a result, the painter exercised precision in outline, privileging the figure. Overall, Mantegna's work thus tended towards rigidity, demonstrating an austere wholeness rather than graceful sensitivity of expression. His draperies are tight and closely folded, being studied (it

2080-516: The matter. They justified Mantegna's choice due to the lack of space. Around 1880 two scenes, the Assumption and the Martyrdom of St. Christopher , were detached from the walls. During World War II the two frescoes were stored in a separate location and were thus saved from the destruction of all the rest of the cycle during an Allied air bombardment of 11 March 1944. The destroyed scenes are known today through black-and-white photographic reproductions. The Chapel consists of an entrance room with

2132-543: The new Marchesa, the cultured and intelligent Isabella d'Este . However, Isabella was not pleased with his attempt of a portrait of her in 1493. She said that "the painter did it so badly that it has no features like our own". 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

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2184-409: The picture was built from Mantegna's own design. The Madonna is here depicted with various saints, the archangel Michael and St. Maurice holding her mantle, which is extended over the kneeling Francesco Gonzaga, amid a profusion of rich festooning and other accessories. Though not in all respects of his highest order of execution, this counts among the most obviously beautiful of Mantegna's works in which

2236-402: The presence of several painters in the work, the layout of the cycle is generally attributed to Mantegna, who devised the architectural frames. The stories portrayed were inspired by Jacobus de Voragine 's Golden Legend . The northern wall was entirely painted by Mantegna and included: The southern wall included the Stories of St. Christopher : On the central wall, where is the window,

2288-1004: 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 Julius Caesar after his paintings. Several of his engravings are supposed to be executed on some metal less hard than copper. The technique of himself and his followers

2340-484: The qualities of beauty and attractiveness are less marked than those other excellences more germane to his severe genius, tense energy passing into haggard passion. 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

2392-667: 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 1457 and 1459, he painted a grand altarpiece for the church of San Zeno Maggiore , depicting a Madonna and angels, with four saints on each side on the San Zeno Altarpiece , central panel, San Zeno, Verona . It was probably the first good example of Renaissance art in Verona, and inspired

2444-560: The splendor of their subject matter, and with the classical learning and enthusiasm of one of the masters of the age. Considered Mantegna's finest work, they were sold in 1628 along with the bulk of the Mantuan art treasures to King Charles I of England . Despite his declining health, Mantegna continued to paint. Other works of this period include the Madonna of the Caves , the St. Sebastian and

2496-495: The use of decorations with festoons and fruit. 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 collaborator into perspective constructions, eventually producing

2548-467: The work to a group of artists, which included the elder Giovanni d'Alemagna , Antonio Vivarini (a Venetian late Gothic painter) and two young Paduans, Niccolò Pizzolo and Andrea Mantegna . The latter at the time was seventeen years old and had just begun his apprenticeship in Squarcione 's workshop. According to the original agreement, the first two artists had to paint the arch with histories of

2600-491: Was Squarcione's love of ancient Roman art that influenced Mantegna. Mantegna is believed to have studied reproduced castings of these sculptures at Squarcione's Studio. He was also influenced by the work of Donatello and models he himself sculpted to capture anatomy. Later in life, he was in Rome from 1488 to 1490 where he also studied sculptural masterpieces. Andrea seems to have been influenced by his old preceptor's strictures, although his later subjects, for example, those from

2652-599: Was an ancient Rome enthusiast: he traveled in Italy, and perhaps also in Greece, collecting antique statues, reliefs, vases, etc., making drawings from them himself, then making available his collection for others to study. All the while, he continued undertaking works on commission, to which his pupils, no less than himself, contributed. 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

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2704-426: Was destroyed by an Allied bombing in 1944: today, only two scenes and a few fragments survive, which have been restored in 2006. They are, however, known from black-and-white photographs. Antonio Ovetari was a Padua notary who, at his death, left a large sum for the decoration of the family chapel in the Church of the Eremitani . The project was carried out by his widow, Imperatrice Ovetari, who, in 1448, commissioned

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