Hy het tussen 1457 en 1459 'n groot altaarstuk (die altaarstuk van San Zero) vir die kerk van San Zeno Maggiore gemaak. Die altaarstuk beeld 'n Madonna en engele uit, met vier heiliges aan elke kant. Dit was waarskynlik die eerste goeie voorbeeld van Renaissance-kuns in Verona, en die inspirasie agter 'n soortgelyke skildery deur die Veronese kunstenaar [[Girolamo dai Libri]]. <ref>[http://www.metmuseum.org/Collections/search-the-collections/110000960 metmuseum Madonna and Child with Saints Girolamo dai Libri (Italian, Verona 1474–1555 Verona) edit:2000 2012]</ref>
===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 painter|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 [[Lira|lire]] 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.{{sfn|Rossetti|1911|p=603}}
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 (Mantua)|Camera degli Sposi]] (literally, "Wedding Chamber") of [[Palazzo Ducale di Mantova|Palazzo Ducale]], [[Mantua]]: [[:File:Mantua Mantegna.jpg| a series of full compositions in fresco]] including various portraits of the [[House of Gonzaga|Gonzaga]] family and some figures of genii and others.{{sfn|Rossetti|1911|p=603}} [[File:Sposi.jpg|thumb|200px|Detail of Camera degli Sposi]]
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 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 the [[Florence|Florentine]] leader visited Mantua in 1483), painted some architectonic and decorative fragments, and finished the intense ''[[St. Sebastian (Mantegna)|St. Sebastian]]'' now in the [[Louvre]] (''box at top'').
[[File:Andrea Mantegna or Follower (Possibly Giulio Campagnola) - Judith with the Head of Holofernes - Google Art Project.jpg|thumbnail|upright| ''[[Judith and Holofernes (Mantegna)|Judith and Holofernes]]'', by Andrea Mantegna or possibly [[Giulio Campagnola]]]]
In 1488 Mantegna was called by [[Pope Innocent VIII]] to paint frescoes in a chapel Belvedere in the [[Vatican City|Vatican]]. This series of frescoes, including a noted ''Baptism of Christ'', was later destroyed by [[Pope Pius VI|Pius VI]] in 1780. The pope treated Mantegna with less liberality than he had been used to at the Mantuan court; but all things considered their connection, which ceased in 1500, was not unsatisfactory to either party.{{sfn|Rossetti|1911|p=603}} Mantegna also met the famous [[Turkey|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 the new Marchesa, the cultured and intelligent [[Isabella d'Este]].
In what was now his city he went on with the nine tempera pictures of the ''[[Triumph of Caesar (Mantegna)|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 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]].{{sfn|Rossetti|1911|p=603}}
===Later years===
[[File:Madonna Cherubin Mantegna.jpg|thumb|left|200px|''[[The Madonna of the Cherubim]] ''(1485).]]
Despite his declining health, Mantegna continued to paint. Other works of this period include the ''Madonna of the Caves'', the ''[[St. Sebastian (Mantegna)|St. Sebastian]]'' and the famous ''[[The Lamentation over the Dead Christ (Mantegna)|Lamentation over the Dead Christ]]'', probably painted for his personal funerary chapel.{{Citation needed|date=June 2017}} 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 II of Gonzaga|Francesco Gonzaga]] was eager to show as an [[Italy|Italian League]] victory; the church which originally housed 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 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.{{sfn|Rossetti|1911|p=603}}
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 (''[[Cabinet (architecture)|studiolo]]'') in the [[Palazzo Ducale di Mantova|Palazzo Ducale]]. These paintings were dispersed in 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 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.{{sfn|Rossetti|1911|p=603}}
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 [[Basilica di Sant'Andrea di Mantova|Sant'Andrea]], where he had painted the altarpiece of the mortuary chapel.{{sfn|Rossetti|1911|p=603}} The dome is decorated by [[Correggio]].
==Engravings==
[[File:Bacco - Mantegna, Andrea - Baccanale col tino -1470 ca.-.jpg|thumb|right|300px|''Bacchanal with a wine vat'', [[engraving]] by Mantegna, c1475, 278 x 422 mm]]
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) is that Mantegna began engraving in [[Rome]], prompted by the engravings produced by the [[Florence|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 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.{{sfn|Rossetti|1911|p=603}} Another artist from the workshop who made several plates is usually identified as [[Giovanni Antonio da Brescia]] (aka Zoan Andrea).
Among the principal examples are: [http://www.nga.gov/cgi-bin/pimage?64266+0+0 ''Battle of the Sea Monsters'']{{dead link|date=October 2016 |bot=InternetArchiveBot |fix-attempted=yes }}, [http://www.nga.gov/cgi-bin/pimage?106542+0+0 ''Virgin and Child'']{{dead link|date=October 2016 |bot=InternetArchiveBot |fix-attempted=yes }}, 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 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 [[state (printmaking)|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 the ink is stronger.{{sfn|Rossetti|1911|p=603}}
Neither Mantegna or his workshop are now believed to have produced the so-called [[Mantegna Tarocchi]] cards.
[[File:Andrea Mantegna - The Lamentation over the Dead Christ - WGA13981.jpg|left|thumb|250px|''[[The Lamentation over the Dead Christ (Mantegna)|The Lamentation over the Dead Christ]]''<br>Tempera on canvas, 68x81 cm, 1490<br>[[Pinacoteca di Brera]], Milan.]]
==Assessment and legacy==
[[Giorgio Vasari]] [[wikt:eulogize|eulogizes]] Mantegna, although pointing out his [[wikt:litigious|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 the attention of the Marchese.{{sfn|Rossetti|1911|p=603}}
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.{{sfn|Rossetti|1911|p=603}} [[Albrecht Dürer]] was influenced by his style during his two trips in Italy, reproducing several of his engravings.<ref>Campbell, Angela and Raftery, Andrew. "Remaking Dürer: Investigating the Master Engravings by Masterful Engraving," [http://artinprint.org/article/remaking-durer-investigating-the-master-engravings/ <i>Art in Print</i> Vol. 2 No. 4] (November-December 2012).</ref> [[Leonardo da Vinci]] took from Mantegna the use of decorations with [[wikt:festoon|festoons]] and fruit.
Mantegna's main legacy in 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 [[Palazzo Ducale di Mantova|Camera degli Sposi]], [[Correggio]] built on the research of his master and collaborator into perspective constructions, producing eventually a masterwork like the dome of [[Cathedral of Parma]].
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==Grootste werke==
Mantegna se enigste bekende beeldhouwerk is 'n "Sant'Eufemia" in die Katedraal van [[Irsina]], [[Basilicata]].
== Notas ==
{{Reflist}}
==Verwysings==
{{Verwysings}}
*Janson, H.W., Janson, Anthony F.''History of Art''. Harry N. Abrams, Inc., Publishers. 6de uitgawe. 1 Januarie 2005. {{ISBN|0-13-182895-9}}
*''Early Italian Engravings from the National Gallery of Art''; J.A. Levinson (red); National Gallery of Art, 1973, LOC 7379624
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