-15%* on your first order. It was rather in Auvergne that it was perhaps admired by Antonio Maineri, a painter active in Bologna, who left, if one can believe the documents, to rejoin Gilbert de Bourbon in 1481. Mantegna demonstrated his mastery of trompe l’œil in his depictions of architecture and sculpture (his oculus in the Camera degli Sposi in the Palazzo Ducale in Mantua). More details, Subcribe to our newsletter and enjoy 15% off your first order.

Mantegna broke with traditional iconography by introducing references to antiquity. Vers 1480.

The cliffy path, the gravel and the caves are references to the difficulties of reaching the Celestial Jerusalem, the fortified city depicted on the top of the mountain, at the upper right corner of the picture, and described in Chapter 21 of John's Book of Revelation. As specified in John's work, the cloud is white and the rider has a scythe, which he is using to cut the cloud.

Yet this is still a devotional work: the sculpted foot next to the saint’s feet symbolizes the triumph of Christianity over paganism via sacrifice, and the arrow-riddled body, although treated in the antique style, remains faithful to iconographic tradition. Andrea Mantegna, St Sebastian, c. 1480, Musée du Louvre, Paris, Andrea Mantegna, St Sebastian, (detail), c. 1480, Musée du Louvre, Paris, Giorgio Vasari | Lives of the Most Eminent Painters Sculptors and Architects, Art in Tuscany | Art in Tuscany | Giorgio Vasari | Lives of the Most Excellent Painters, Sculptors, and Architects Our art prints are printed reproductions of original artworks. The Paduan artist lived in a period of frequent plagues; Sebastian was considered protector against the plague as having been shot through by arrows, and it was thought that plague spread abroad through the air. And Andrea Mantegna’s close-up portrait of Cardinal Ludovico Trevisan from 1459-60, in which the fierce, square-jawed cleric leans to his right and looks up to his left, projects an especially palpable feeling of a living, contemporary presence.' The mandatory data are indicated on the form by an asterisk. It belongs to the italian renaissance style.

Before leaving Mantua, Mantegna’s Saint Sebastian seems to have impressed Bernardino da Parenzo who transposed the composition and the décor of antique ruins onto his small panel. The third St. Sebastian by Mantegna was painted some years later (c. 1490), and quite different from the previous compositions, shows a marked pessimism. A work of religious devotion.

The artist's intentions for the work are explained by a banderol spiralling around an extinguished candle, in the lower right corner. €95.

… © RMN (Musée du Louvre) /René-Gabriel Ojéda. However, it is the symbolic association of arrows with the Black Death - during the Middle Ages and during the Renaissance - which identifies Sebastian as the patron saint of plague victims. One, made by Matteo de’ Pasti for Leon Battista Alberti, pictures a disembodied eye with a wing attached on the reverse side, symbolizing a quasi-divine omniscience.

Encouraged by his teacher Squarcione and his contacts in Paduan humanist circles, he threw himself passionately into the rediscovery of antiquity. As a reply, he therefore applied Alberti's Classicism principles in the following pictures, including this small St. Sebastian, though deformed by the nostalgic perspective of his own. 1460 Meister E. S. 1460 … Profiles prevailed not for lack of technical know-how, but for symbolic reasons suggested by numerous medals included in the show. The earliest surviving example of a three-quarter view is Andrea del Castagno’s 1450-57 picture of a man in a voluminous red robe and an early Beatles haircut who fixes his eyes on us with enigmatic intent. The influence of both ancient Rome and contemporary sculptors are highly evident in Mantegna's human figures. Giorgio Vasari | Lives of the Most Eminent Painters Sculptors and Architects | Andrea Mantegna. Some of the great Renaissance names associated with paintings of St Sebastian include Titian, Tintoretto, del Sarto, Mantegna, and del Castagno (Targat, 1979 5-25). Mantegna became an apprentice and developed strong interests in classica antiquity. 6270

The result is close to etching, which Mantegna practiced between 1470 and 1485. The martyrdom of St Sebastian was a recurring theme in Mantegna's work, favoured because it combined a religious subject with the chance to paint an athletic male nude. Caetera fumus ("Nothing is stable if not divine.

The painting reflects Mantegna’s fascination for antiquity and illustrates his skill in perspective effects: the monumentality of the body of the martyred saint is heightened by the viewer’s upward-looking viewpoint. It has been suggested that the picture was made after Mantegna had recovered from the plague in Padua (1456–1457). 1453-1454 Andrea Mantegna 1453-1454 Andrea Mantegna 1457-1459 Andrea Mantegna Relic with brain pan of St. Sebastian in Ebersberg, Germany Relic with brain pan of St. Sebastian in Ebersberg, Germany Relic with brain pan of St. Sebastian in Ebersberg, Germany Relic with brain pan of St. Sebastian in Ebersberg, Germany 146x . Late in life, Mantegna took this technique to the extreme by painting trompe-l’œil pictures of antique bas-reliefs. Mantegna used the same trick again in his. Thank you for signing up for the museum shops Newsletter.

Plate engraved at the end of the 19th century by E. Sulpis (1856-1943) from a 15th century painting by Andrea Mantegna Etching and chisel on copper, H. 50 L. 33 cm high Print from the original plate belonging to the Collection de la Chalcographie du Louvre, inv. By continuing to browse the site, you agree to such use.