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MANTEGNA, Andrea

Italian Early Renaissance Painter, ca.1431-1506 Italian painter and printmaker. He occupies a pre-eminent position among Italian artists of the 15th century. The profound enthusiasm for the civilization of ancient Rome that infuses his entire oeuvre was unprecedented in a painter. In addition to its antiquarian content, his art is characterized by brilliant compositional solutions, the bold and innovative use of perspective and foreshortening and a precise and deliberate manner of execution, an aspect that was commented upon during his lifetime. He was held in great esteem by his contemporaries for his learning and skill and, significantly, he is the only artist of the period to have left a small corpus of self-portraits: two in the Ovetari Chapel; his presumed self-portrait in the Presentation in the Temple (Berlin, Gemeldegal.); one in the Camera Picta (Mantua, Pal. Ducale) and the funerary bust in his burial chapel in S Andrea, Mantua, designed and probably executed by himself. His printmaking activity is technically advanced and of great importance, although certain aspects of the execution remain to be clarified.
The_Court_of_Mantua_(detail)_g
1471-74 Fresco Camera_degli_Sposi,_Ducal_Palace,_Mantua

MANTEGNA, Andrea The Court of Mantua (detail) g oil painting on canvas

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MANTEGNA,_Andrea
The Court of Mantua (detail) g
1471-74 Fresco Camera degli Sposi, Ducal Palace, Mantua

Painting ID::  8055

INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469

    1471-74 Fresco Camera degli Sposi, Ducal Palace, Mantua
MANTEGNA, Andrea
Italian Early Renaissance Painter, ca.1431-1506 Italian painter and printmaker. He occupies a pre-eminent position among Italian artists of the 15th century. The profound enthusiasm for the civilization of ancient Rome that infuses his entire oeuvre was unprecedented in a painter. In addition to its antiquarian content, his art is characterized by brilliant compositional solutions, the bold and innovative use of perspective and foreshortening and a precise and deliberate manner of execution, an aspect that was commented upon during his lifetime. He was held in great esteem by his contemporaries for his learning and skill and, significantly, he is the only artist of the period to have left a small corpus of self-portraits: two in the Ovetari Chapel; his presumed self-portrait in the Presentation in the Temple (Berlin, Gemeldegal.); one in the Camera Picta (Mantua, Pal. Ducale) and the funerary bust in his burial chapel in S Andrea, Mantua, designed and probably executed by himself. His printmaking activity is technically advanced and of great importance, although certain aspects of the execution remain to be clarified.
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