A close study of Mantegna's Entombment engraving reveals how Mantegna inscribed into the facture of his engravings their ephemerality and destruction. Mantegna's prints introduced a new paper form of ...perpetuation into western European art, a form of continuation founded not in the endurance of the material but in the kinesis of the material. Through this movement, Mantegna's engravings were translated into other mediums and achieved a new form of continuation reliant not on the original but on the act of copying.
When art historians and the cultural industry join forces to monumentalize an artist, sceptical minds may question whether the work retains any intellectual interest for the present day. This essay ...argues that Mantegna's oeuvre is more relevant today than that of most other artists of his time, due to its extraordinary critical power. To understand Mantegna's philosophy of art as manifested in his paintings, one must consider the cultural context of his formative years. The artist's career began in an urban environment of reformist clerics, who combined the introversion of the devotio moderna with a passion for ancient literature, art, and sacral painting.
If early viewers were aware of the elaborate political or philosophical meanings now usually assigned to the Camera Picta (Plate 1) in art history, they did not say so1 Artists in the following ...decades responded to its illusionistic effects, especially the famous oculus in the vault (Plate 2), from which smiling faces seem to beckon or mock the viewer, and where winged genii pose and cavort on a fictive parapet. However, such written records as have come down to us indicate that contemporaries were struck above all by the portraits.
Bibliography Alambritis, Maria
19: interdisciplinary studies in the long nineteenth century,
01/2019
28
Journal Article
Recenzirano
Odprti dostop
This bibliography aims to provide an up-to-date resource of both primary and secondary literature in the field of nineteenth-century British women art writers. The first section, ‘Selected ...publications’, presents a general overview of scholarship in the field, including examples of foreign-language work on women art writers. This is followed by individual bibliographies for each of the key writers featured in the articles of this issue. Each individual bibliography includes ‘Archives’, indicating where a writer’s principal archival material can be found; ‘Primary sources’ presents a chronological list of the writer’s art/old master-focused publications; finally, an overview of the scholarship on that writer to date can be found in ‘Secondary literature’.
Several twentieth-century writers, including Pound, Eliot, Gadda, Pasolini, Arbasino, and many others were interested in the paintings of Andrea Mantegna. From the Avant-Garde of the 1910s to the New ...Avant-Garde of the 1960s, poets and novelists considered the Quattrocento painter as a paradigm of formal perfection, emotional restrain, and even moral rectitude. In 2006, Sanguineti published a collection of fifteen poems dedicated to Mantegna. On the one hand, the Genoese poet is the last example of the revival of the old master. On the other hand, Sanguineti’s ekphrastic verses deconstructed the stereotypes associated with the literary celebration of Mantegna.
Giovanni Bellini's paintings depicting the life of Christ and of the Virgin Mary, installed in the Scuola di S. Giovanni Evangelist in Venice Italy c. 1453 is discussed. Although the cycle is ...nominally by Jacopo Bellini, stylistic evidence suggests that it includes very early work by his son Giovanni, influenced by his brother-in-law Andrea Mantegna. It suggests that although Jacopo probably supervised the cycle, he gave the responsibility for painting it to his workshop, and especially to his son. A precise chronology can be established on the basis of stylistic comparisons as well as documentary evidence. It will be argued that the cycle, and in particular the two canvases in the Galleria Sabauda, Turin, which can be more reliably assessed thanks to their restoration in the mid-1980s, are among the earliest surviving works by Giovanni, painted when he was still in his father's workshop.
Signing Mantegna Arasse, Daniel
Art history,
April 2014, Letnik:
37, Številka:
2
Journal Article
Recenzirano
Without constituting what might properly be called a system, the body of Andrea Mantegna's signed works progressively elaborates a veritable apparatus (dispositif), attesting that at the very moment ...when the notion of artistic personality is coming into being, and in the very case of a painter so conscious of the individual dimensions of his art, the signature (with all that implies for the professional status of the painter and his personal expression in his work) was strictly determined by the forms of contemporary sociality.
Thain frames "Space" with the theories ofJohn Stuart Mill and Maurice MerleauPonty, identifying in the process two pressing lyric problems: one, memorably explored by Mill, entails the potential in ...lyric to forego its own I/you transactional nature and capitulate to solipsism, while the other, informed by Merleau-Ponty's phenomenology, involves lyric's tendency to appeal to the eye via print on the page, thus abandoning its capacity to appeal to the ear. Here Thain uses the ingenious metaphor of "desire lines"-drawn from architectural landscape design to name foot-worn paths that deviate from designated pathways in urban spaces-to illustrate poets' free and individual occupation of lyric conventions while they simultaneously follow collective routes laid out consensually over centuries and through diverse cultures (184-85). For while conceptual axes and case studies allow her to unfold diverse fresh approaches to lyric, whose vitality and capaciousness at this historical moment have been severely underestimated, the rapid shifts in focus and terminology require her to treat dense, philosophically challenging arguments cryptically.
In Andrea Mantegna's late Saint Sebastian (Plate 1), a warning is affixed to the candle at the lower right: N IL NISI DIVINUM STABILE EST CAETERA FUMUS (Nothing but the divine is stable, the rest is ...smoke). In terms of the antitheses this articulates - heavenly versus earthly, stable versus evanescent - Mantegna's actual painting, a material product of human artifice, is unquestionably part of the latter realms. Just as Sebastian's (and the forewarned viewer's) flesh will eventually be reclaimed by the earth, the skin of pigment-covered canvas on which the former is represented is also part of the temporal realm of contingency. Yet (as commentators have long noted about Mantegna's figures generally) Sebastian's body seems less to be covered with vulnerable flesh than hewed from durable stone.
A painting of the Virgin dated around 1460-70, which originated in the circle of Andrea Mantegna and which today is usually attributed to Lazzaro Bastiani (Berlin, Gemäldegalerie), supplies a telling ...example of the ambivalent nature of the frame. In the centre of the painting, the half-length figure of the Virgin holds the infant Jesus. An illusionistic marble parapet in the extreme foreground mediates between the spaces of the image and the viewer. Its trompe-l'oeil effect is enhanced by a painted but deceptively authentic cartellino. The infant, who is located on this threshold and who tries with great agility to wind free of his mother's caring embrace, gains a palpable presence for the viewer. His right foot seems to protrude from the painting into real space as though he were about to step into the latter. But this entire representation, which offers the viewer an intimate proximity to the heavenly personages in the image, assumes its proper role only in the context of a larger ensemble. Of central importance in this ensemble is the surrounding frame, which is decorated with a series of putti floating on clouds and carrying the instruments of the passion, the arma Christi.
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