Andrea Mantegna and the Italian Renaissance
Renaissance Innovator of PerspectiveBy Joseph Manca
Length6h 49m
About this audiobook
Mantegna; humanist, geometrist, archaeologist, of great scholastic and imaginative intelligence, dominated the whole of northern Italy by virtue of his imperious personality. Aiming at optical illusion, he mastered perspective. He trained in painting at the Padua School where Donatello and Paolo Uccello had previously attended. Even at a young age commissions for Andrea's work flooded in, for example the frescos of the Ovetari Chapel of Padua. In a short space of time Mantegna found his niche as a modernist due to his highly original ideas and the use of perspective in his works. His marriage with Nicolosia Bellini, the sister of Giovanni, paved the way for his entree into Venice. Mantegna reached an artistic maturity with his Pala San Zeno. He remained in Mantova and became the artist for one of the most prestigious courts in Italy – the Court of Gonzaga. Classical art was born. Despite his links with Bellini and Leonardo da Vinci, Mantegna refused to adopt their innovative use of colour or leave behind his own technique of engraving.
Audiobook details
GenreOther
Length6 hrs 49 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateMay 8, 2012
LanguageEnglish
Table of contents
1ANDREA MANTEGNA and the Italian Renaissance
2Author: Joseph Manca
3List of Illustrations
4Mantegna as Artistic Revolutionary
5to sharp definition and virile action.
Show all chaptersShow less
6narrative and classical revivalism.
7to his students progressive ideas.
8The Debut of a Prodigy: Mantegna’s Early years in Padua
9fragmented world.
10The Debut of a Prodigy: Mantegna’s Early Years in Padua
11the Renaissance.
12Musei Civici, Padua.
13The Debut of a Prodigy: Mantegna’s Early Years in Padua
14laudable civilisations of classical antiquity.
15Latin literature.
16but not extraordinary painter.
17130 young artists in his school, among them Andrea Mantegna.
18recreations of ancient Roman costumes, architecture, and sculpture.
19Church of the Eremitani, Padua.
20classicised style.
21British Museum, London.
22spatial recession in elaborate settings.
23art instead on Roman antiquity, the Tuscan Renaissance and real models.
24composition.
25Kunsthistoriches Museum, Vienna.
26The Debut of a Prodigy: Mantegna’s Early Years in Padua
27prevails over a moral world in collapse.
28Tempera on panel, 66 x 90 cm.
29The Debut of a Prodigy: Mantegna’s Early Years in Padua
30San Sepolcro.
31The Debut of a Prodigy: Mantegna’s Early Years in Padua
32modest size.
33Mantegna as Court Painter in Mantua
34Fresco. Ducal Palace, Mantua.
35Mantegna as Court Painter in Mantua
36intensely interested in questions of representation and imitation.
37Servants with Horse and Dogs
38Ducal Palace, Mantua.
39Mantegna as Court Painter in Mantua
40(Fig. 39). These important figures, like
41face, or a more serious, grave appearance.
42because of the internal lighting and the suppleness of representation.
43specimen by Mantegna.
44Mantegna as Court Painter in Mantua
45(right panel), 1472.
46Piety and Passion in Mantegna’s Later Religious Works
47fire-and-brimstone preacher Girolamo Savonarola, or Michelangelo Buonarroti’s
48Piety and Passion in Mantegna’s Mature Religious Works
49political and social relations in Italy at the time.
50Gemäldegalerie, Berlin.
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