Mantegna was born in 1431. 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 frescoes 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; 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 altarpiece of Pala San Zeno. He remained in Mantua and became the artist for one of the most prestigious courts in Italy - the Court of Gonzague. 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. The Bridal Suite is considered his most accomplished work.
...careful observation of both the post-restoration and pre-restoration pictures does not confirm this sign. ...even if the three facial skin lesions were neurofibromas, the woman would not meet ...diagnostic criteria for NF1. The phenotype of the woman (marked short stature with relative macrocephaly, low nasal bridge, midfacial hypoplasia, rhizomelic shortening...
A master of detail and of atmospheric perspectives, Mantegna painted life-like portrayals which could depict pathological disorders such as Horton's disease (an inflammation of the temporal ...arteries).1 Here we report a case of neurofibromatosis type 12 associated with hypopituitary dwarfism3 in the painting of the maid of the court scene of "La Camera degli Sposi" ("The Bridal Chamber", Ducal Palace, Mantua, Italy, 1465-1474) by Andrea Mantegna.
A correction notice for the original article: Maria Alambritis, ‘“Such a pleasant little sketch … of this irritable artist”: Julia Cartwright and the Reception of Andrea Mantegna in Late ...Nineteenth-Century Britain’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) <https://doi.org/10.16995/ntn.825>.
The Madonna with Child by Andrea Mantegna owned by the Museo Poldi Pezzoli in Milan is painted on canvas with an unusual distemper technique. During the period of 1863–1865, the painting was restored ...by Giuseppe Molteni. The identification of potential retouchings by Molteni, possibly covering part of the original layer, was the object of this work carried at the Opificio delle Pietre Dure. To evaluate the extent of both Molteni’s intervention and Mantegna’s original layer, the MA-XRF spectrometer developed by CHNet-INFN was used to discriminate between the two paint layers and identify the materials and the extension of both “artists”. Indeed, the elemental maps showed that Molteni’s work entirely covered the mantle of the Virgin, even changing the fold of the draperies and enriching the red robe with shell gold highlights, giving a different appearance to the painting. Moreover, MA-XRF also revealed that the original Mantegna was still mostly intact underneath Molteni’s layer, thereby providing a decisive guide for conservation works. These results indeed formed the basis for the technical decision to remove the varnish and Molteni’s version, unveiling the original Mantegna. A second MA-XRF campaign was then carried out to fully characterise the materials of this unusual painting technique.
Historians of Renaissance art have long been familiar with Giovanni Aurelio Augurello's interest in painting and sculpture, while historians of alchemy are aware of his lifelong dedication to the ...gold-making art immortalized in his masterpiece, Chrysopoeia (1515). Yet the problem of how these interests intersect in the poet's work has either been disregarded or framed within outdated categories such as occultism and hermeticism. In a dialogue with recent theoretical work on intermediality, and based on the identification of several key artistic allusions in Augurello's Chrysopoeia, this article proposes to interpret them beyond the conventions of ekphrasis. A remarkable focus on artistic techniques, processes, and materials, we argue, defines the self-referential blend of poetry and alchemy inscribed in Chrysopoeia. Rather than being the expression of an occult or hermetic mentality, this poem's fascination with the materiality and poetics of artworks, we propose, is attuned with the Northern Italian aesthetics nurtured by Andrea Mantegna, Giulio Campagnola, and other artists of the time.
The painted series of the Triumphs of Caesar by Andrea Mantegna (1431-1506), all now in the Royal Collection at Hampton Conn, have been regarded as the artist's masterpieces since they were first ...completed in the late fifteenth century. The Gonzaga marchesi of Mantua proudly showed off the paintings to visiting dignitaries, including Ercole d'Este, Duke of Ferrara (1431-1505), in 1486 and Giovanni di P'ierfrancesco de' Medici (1467-1498) in 1494, even while they were still works in progress in Mantegna's studio. The recent reappearance of a drawing in a German private collection related to the series throws new light on this greatest of Gonzaga commissions and forms an important addition to the small group of associated graphic works.
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