![]() ![]() ![]() It will show how the tastes ofĭominant patrons and their working environments (including theįamily-run workshop) played a role in the development of the artists. The distinctive cultural environments of the two cities that shaped Room One of the exhibition is called 'Beginnings' and will introduce Version of which is in the Gemäldegalerie, Staatliche Museen zu Berlin)Īnd Bellini’s in the Fondazione Querini Stampalia, Venice). 'The Presentation of Christ to the Temple' (Mantegna’s Mantegna and Bellini’s work: depictions of ' The Agony in the Garden',īy side in the National Gallery since the late 19th century, as well as The knowledge of the other’s work and achievements.Īt the core of the exhibition are two historic juxtapositions of Each artist continued to scale new heights in skillĪnd ingenuity but remained forever shaped by their time together and by Despite theĭistance between them, their creative exchange continued throughout Mantegna, spent his entire career in Republican Venice. To Mantua, where he occupied the post of court painter to the ruling In 1460, Mantegna decided to pursue his own artistic path and moved Musée du Louvre, Département des Peintures, Paris © RMN-Grand Palais Their admiration and respect were mutual. Gifted artist who was bringing new innovations to the Venetian use ofĬolour, observed light, atmosphere, and landscape to create an entirely Mantegna’s new brother-in-law, Giovanni Bellini, was also a phenomenally Into the greatest artistic family of nearby Venice – the Bellini. ![]() In 1453 the prodigiously talented young painter from Padua, married The son of a carpenter, Andrea Mantegna was a self-made Veronese, would not exist as it does today. Innovation, Renaissance art, by the likes of Titian, Correggio, and The other, and without these works imbued with their creativity and Neither’s career or artistic development would have existed without Important artists who also happened to be brothers-in-law – a familyĬonnection from which both drew strength and brilliance throughout their Offers a once-in-a-lifetime opportunity to compare the work of these two Travelling to London from across the world, 'Mantegna and Bellini' ThroughĮxceptionally rare loans of paintings, drawings, and sculpture, Two of the greatest artists of the Italian Renaissance: Giovanni Bellini The museum hopes to one day bring the two parts of the painting, The Resurrection of Christ and the privately owned Descent Into Limbo, together in an exhibition in the future.This exhibition is the first ever devoted to the relationship between That means that the Accademia Carrara’s forgotten wood panel, previously insured for around $35,000, is probably worth between $25 million and $30 million. The Accademia Carrara also conducted an infrared survey of The Resurrection of Christ, discovering that the artist drew nude figures first, then painted over them with images of clothed soldiers, a technique that Mantegna was known for.Ī world expert on Mantegna, the Metropolitan Museum of Art’s Keith Christiansen, did his own analysis and believes the painting in Bergamo to be an authentic, high-quality Mantegna. Valagussa tracked down another Mantegna painting, Descent Into Limbo, that seemed to fit underneath-the paintings are likely two halves of one image that was cut apart. The painting features a small cross at the bottom of the image that looked disconnected from the rest, and the structure of the back of the painting made it seem like it might be part of a larger work. Upon inspecting the painting, Valagussa suspected it was more than just a copy. The Resurrection of Christ / Andrea Mantegna, Accademia Carrara The museum removed it from display sometime before 1912, and it has been in storage for more than a century. But decades later, other experts cast doubt on the originality of the work, first re-attributing it to the artist’s son, and later suggesting that it was a copy that was not even made in his workshop. While working on a catalogue for the museum in March, Accademia Carrara curator Giovanni Valagussa took note of the tempera-on-panel work and began to investigate its origins.Ĭount Guglielmo Lochis purchased the painting in 1846, cataloguing it as an original Mantegna it was bequeathed to the museum as part of his collection after his death in 1859. The Accademia Carrara has been in possession of the Mantegna painting since the 19th century, but long ago discounted it as a copy. The painting in question, Andrea Mantegna’s 15th century The Resurrection of Christ, was found by a curator at an art museum in the city of Bergamo. A long-lost painting by a master artist of the Renaissance was recently rediscovered in the storeroom of an Italian museum near Milan, according to The Art Newspaper and The Wall Street Journal. ![]()
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