San Zeno Altar

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San Zeno Altar (Andrea Mantegna)
San Zeno Altar
Andrea Mantegna , 1457-1460
Tempera on wood, framing wood
480 × 450 (overall dimensions) cm
San Zeno Maggiore

San Zeno Altar is called a triptych that was created for the high altar of the Church of San Zeno Maggiore in Verona . The total of six individual paintings, three large panel paintings and three smaller ones of the predella , were created by Andrea Mantegna between 1457 and 1460 . The work is one of his main works and is considered a masterpiece of its time. It is the first high altar of the Renaissance to use the new conception of realism throughout. In addition, a “ Sacra Conversazione ” was presented for the first time in northern Italy .

History of origin and whereabouts

Mantegna was a son-in-law of Jacopo Bellini through his marriage to Nicolosa Bellini in 1454 . He received the order for the altar towards the end of 1456 from Gregorio Correr , abbot of the Benedictine monastery of San Zeno in Verona and papal protonotary . Correr, trained in the school of Vittorino da Feltre, was later to become Patriarch of Venice . Part of the correspondence between Mantegna, Correr and the Margrave of Mantua , Luigi III , is still preserved . Gonzaga . For example, a letter dated January 5, 1457 reports the approval of the contract by the court in Mantua. Mantegna was already active at this point. In further letters of November 27, 1457, April 15, 1458 and of February and June 28, 1459, Luigi III inquired. according to the status of the work. Contrary to the wishes of the margrave, the altar was made entirely in Mantegna's workshop in Padua and arrived in Verona in July 1459. Mantegna was known for his slow painting style. This was also a result of the special care that went into every detail. The first masses were held after the assembly in 1460.

The altar remained in its place on the high altar of the church until the invasion of Italy by Napoleonic troops in 1797, when it was brought to Paris . After the defeat of Napoleon and the Congress of Vienna in 1815, it was only partially returned, the three lower images of the predella remained in France. The middle picture, the crucifixion scene , is shown in the Louvre today ; the other two can be seen in the Musée des Beaux-Arts in Tours . After the return, the altar was no longer installed in its original location on the high altar, but in the choir of the church - much too high according to some art historians. The missing pictures were replaced by copies made by Giovanni Cagliari in the 19th century.

The framing

The frame of the altar is made of gilded and painted wood. It was certainly designed together with the individual images, as their perspective layout refers to the structure itself. Mantegna probably had it made by a sculptor according to his specifications. The model for the construction of the entire altar was most likely Donatello's altar for Sant'Antonio in Padua , built until 1450, as well as the painting Madonna with the four church fathers by Antonio Vivarini in the Accademia in Venice . The frame, based on ancient models, in the style of an ancient temple facade, was a complete novelty in Verona, where people were used to purely late Gothic works of art.

In the lower part, the three smaller pictures are framed and separated by four strong, richly decorated and gilded bases . The middle three panels are framed by the three-dimensional, also gilded and fluted half-columns with Corinthian capitals standing on the pedestals . The upper end is formed by the architrave and the segmental arch above it, which ends in two lateral volutes . The architrave and segment arch are painted and gilded.

The upper panels

Detail of the upper middle panel with Mary and the baby Jesus

The theme of the Sacra Conversazione dictates the structure of the three upper panels. The St. Mary with the Infant Jesus located in the central part of the altar. Groups of saints and other people are shown in the two side panels. Each picture is 220 × 115 centimeters in size.

Mantegna designed the space of the depiction as a strictly symmetrical tempietto or "temple pavilion" that tapers in perspective to the rear and is covered by a coffered ceiling above a putti frieze running all around . Richly crafted garlands of fruits and fruit give the pictures a mediating element despite the pillars and also create an additional sense of depth through the painted suspension on hooks above the capitals. The composition follows the principles of trompe l'oeil painting. This can also be seen in the floor tiles, which have been shortened in perspective. The square pillars with marble facings are adorned with eight visible medallions in relief, seven of which can be traced back to ancient gems or coins.

When guiding the light, Mantegna was guided by the original location of the high altar, so he expected light to come in from the top right. The figures on the left side panel are therefore depicted with strong colors, while the image of the group of people on the right panel remains paler. The strongest colors, however, were used for the middle panel. Since the light comes in from the top left at today's location of the altar, it is difficult to see.

Detail of the pillars' reliefs made from antique gems or coins

The middle panel contains the motif of Mary with the baby Jesus . The Madonna sits on a stone throne , the top of the backrest is matched to a decorative window in the shape of a wheel and has the effect of a halo once again enclosing both figures . Unusually in the depiction, Mary supports the standing boy's feet with her left hand while his right hand holds him. This is interpreted as a presentation of the boy in the sense of the promise of salvation. The presence of God is seen through the lit candle in the center of the picture above the head of Mary. The carpet that can be seen below the throne could be modeled after an original from Anatolia in the client's family. A small year “1433” is noted on it; this was the year Correr was awarded the Abbey of San Zeno "ad commendam". The vanishing point of the central perspective construction of the room lies in the center of the wreath covered by the carpet. Since this is held by also covered putti behind which there is a box-like structure, it has been assumed that an ancient sarcophagus was depicted at the feet of the Madonna . This is interpreted as a picture of overcoming death through faith and thus as a further promise to the believer who observes. Mary's gaze is directed from the picture to the viewer or praying, while the baby Jesus looks at the angels making music around him. Below the representation is a group of childlike angelic figures making music. In particular, the right outer figure of a child playing music and singing with bloated cheeks and wrinkled legs is an example of the extremely naturalistic representation of Mantegna. Above the Maria there are two medallions on the pillars of the temple construction. On the left a centaur is shown with Christ, on the right a man leads a horse. This motif is said to have been adopted by a group of sculptures in Rome, albeit with a modification. The added Hermes staff indicates that it is Mercurius and his Pegasus . This could be an indication of the accompaniment of the soul after death.

Detail of the lighted lamp over the head of Mary, symbol of the presence of God

On the left panel painting there are four people under an architectural representation and a garland. Like those on the right-hand panel, they represent the virtues of the founder, in particular his literacy in the sense of striving for knowledge from the study of religious works. Almost every character holds a book in their hand. These are - from left to right - St. Peter , St. Paul , St. John and the patron saint of the city of Verona, St. Zeno . Peter with a yellow cloak over a red robe is shown with particularly strong colors. It clearly stands out from its neighbors, whose robes are darkly colored. Round medallions with reliefs are again attached to the pillars above the group of people. Again, it is based on ancient models: Above Peter and Paul is the enlarged and varied image of a Hadrianic coin, on the front of the rear left pillar is a depiction of Victoria with a tropaion .

The right painting of the upper part shows - from left to right - St. Benedict , St. Laurentius , St. Gregory and, on the right edge of the picture, St. John . The medallions of the pillar above the pictures of Gregory and Laurentius as well as the rear pillar on the right side of the panel could again have been inspired by ancient models, possibly by gems or reliefs from ancient sarcophagi. All people have different attitudes and individual characteristics; they are not portrayed as ideal figures, but as real people. Possibly they were designed after friends or acquaintances of Mantegna. This also contributes to the special impression of the picture.

“There had been a few examples of the sacra conversazione before Mantegna , but no artist before him had assembled so many saints and so many architectural and decorative elements and had deviated so far from the conservative and established tradition of altarpieces with strictly separated panels. "

The predella

Detail of the crucifixion scenes in the middle predel image

The middle picture of the predella measures 67 x 93 centimeters, the two on the sides are 70 x 92 centimeters. The crucifixion scene, which was inserted in the middle from the beginning, is considered to be outstanding . Mantegna chose a central perspective construction borrowed from Dutch models , reminiscent of Jan van Eyck . The arms of the crosses of the good thief on the right and the bad thief on the left run towards the center of the central cross of Jesus. Jesus is depicted as realistically as the other two figures, with a thin body and a painful face. The incidence of light from the right on the body of Jesus as well as on the left “good” thief serves to emphasize opposites of characters and feelings. The mourners also stand in the light, while the soldiers throwing the dice for Jesus' clothes remain in the shadow of the mountain. A pen and ink drawing by Mantegna in brown ink , now in the British Museum in London , was perhaps a preliminary study for this representation. The perspective of the group of soldiers throwing dice is also noteworthy in terms of art history because it is seen as the first hint of genre painting .

The crucifixion scene as a whole

The left image depicts the scene of Christ on the Mount of Olives . The light falls from behind on the scene in front. The trees and the landscape are very finely drawn. Christ prays while the apostles are shown asleep. Mantegna carefully constructed the contrasts between the cold light mood of the morning and the warm light emanating from Jesus. The light guidance is seen as the forerunner of Antonio da Correggio's later light treatment .

The right picture shows the resurrection of Christ . The risen One rises from his sarcophagus, surrounded by a halo. The soldiers facing him are paralyzed with fear. The main effect is based on the contrast between the rest of the risen One and the horror of his guardians. The depiction is often compared to the Resurrection of Christ by Piero della Francesca . Piero della Francesca, however, offered a picture that was characterized by the almost complete immobility of the figures.

reception

The work received "extraordinary applause" from contemporaries and brought Mantegna "great success and respect". Works of art that are directly influenced include: a. Gentile Bellini's triptych Madonna with the Saints for the church Santa Maria Gloriosa dei Frari in Venice in 1488 and the Cremonese painter Vincenzo Civerchios 1491 created Sacred Conversation , now also on display in the Louvre. The altar became a model for Venetian painting and a main source for later Veronese painting. Artists such as Francesco Benaglio and the early Francesco Bonsignori took up the suggestions. Mantegna's oeuvre influenced artists from Albrecht Dürer to Peter Paul Rubens and Nicolas Poussin .

literature

  • Maria Bellonci: L'opera completa del Mantegna , Rizzoli Editore, Milan 1967.
  • Sabine Blumenröder: Andrea Mantegna - the grisaille. Painting, history and ancient art in the Paragone des Quattrocento . Gebr. Mann Verlag, Berlin 2008, ISBN 978-3-7861-2558-7 .
  • Wolfgang Braunfels: Small Italian Art History . DuMont Buchverlag, Cologne 1984, ISBN 3-7701-1509-0 .
  • Will Durant: The Splendor and Decay of the Italian Renaissance . Volume 8 from Will and Ariel Durant's cultural history of mankind , 1st edition, Südwest Verlag, Munich 1978, ISBN 3-517-00562-2 .
  • Fritz Knapp : Andrea Mantegna - The master's paintings and copperplate engravings , Deutsche Verlags-Anstalt, Stuttgart and Leipzig 1901.
  • Paul Kristeller: Andrea Mantegna . Cosmos Verlag for Art and Science, Berlin and Leipzig 1902. online
  • Joseph Manca: Andrea Mantegna - Art and Culture in Renaissance Italy . Parkstone Press International, New York 2006, ISBN 978-1-85995-020-3 .
  • Giovanni Paccagnini: Andrea Mantegna, Catalogo della mostra a cura (Comitato della mostra di Andrea Mantegna), Nero Pozzi, Venice 1961.
  • Lionello Puppi: Il trio di Andrea Mantegna per la Basilica di San Zeno Maggiore in Verona , Centro per la formazione professionale grafica, Verona o. Year.
  • Corrado Ricci: History of Art in Northern Italy , 2nd edition, Julius Hoffmann Verlag, Stuttgart 1924.
  • Patrick de Rynck: The art of reading pictures - The old masters decipher and understand , Parthas Verlag, Berlin 2005, ISBN 3-86601-695-6 .
  • Alberta de Nicolò Salmazo: Andrea Mantegna . DuMont Literature and Art Verlag, Cologne 2004, ISBN 3-8321-7230-0 .
  • Max Semrau: The Art of the Renaissance in Italy and in the North . 3rd edition, Vol. III from Wilhelm Lübke, Grundriss der Kunstgeschichte , 14th edition, Paul Neff Verlag, Esslingen 1912.
  • Herbert Alexander Stützer: Painting of the Italian Renaissance . DuMont's library of great painters, DuMont Buchverlag, Cologne 1979, ISBN 3-7701-1118-4 .
  • E. Tietze-Conrat: Mantegna - Paintings, Drawings, Engravings . The Phaidon Press, London 1955.
  • Rolf Toman (Ed.): The art of the Italian Renaissance - architecture, sculpture, painting, drawing . Tandem Verlag, Cologne 2007, ISBN 978-3-8331-4582-7 .
  • Robert E. Wolf / Ronald Millen: Birth of the Modern Age . Kunst im Bild series, Naturalis Verlag, Munich 1987, ISBN 3-88703-705-7
  • Manfred Wundram: Art of the World - Renaissance , Holle Verlag, Baden-Baden 1980.
  • Stefano Zuffi: The Renaissance - Art, Architecture, History, Masterpieces . DuMont Buchverlag, 2008, ISBN 978-3-8321-9113-9 .

Web links

Commons : San Zeno Altar (Mantegna)  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e Manca: Andrea Mantegna - Art and Culture in Renaissance Italy , p. 48
  2. ↑ Knapp: Andrea Mantegna - The Master's Paintings and Copper Engravings P. XXXVIII
  3. ↑ Knapp: Andrea Mantegna - The Master's Paintings and Copper Engravings P. XXXIX
  4. ↑ a b c d Salmazo: Andrea Mantegna , p. 134
  5. ^ Tietze-Conrat: Mantegna - Paintings, Drawings, Engravings , p. 9
  6. ↑ a b Paccagnini: Andrea Mantegna, Catalogo della mostra a cura , p. 18
  7. ↑ a b c Blumenröder: Andrea Mantegna - the grisaille. Painting, history and ancient art in the Paragone des Quattrocento p. 113
  8. ↑ Kristeller: Andrea Mantegna , p. 155f.
  9. ↑ Kristeller: Andrea Mantegna , p. 156
  10. ↑ Salmazo: Andrea Mantegna, p 131
  11. ↑ Braunfels: Small Italian Art History , p. 263
  12. ↑ a b Bellonci: L'opera completa del Mantegna , p. 95
  13. ↑ Kristeller: Andrea Mantegna , p. 157
  14. ↑ Kristeller: Andrea Mantegna , p. 158 online and Knapp: Andrea Mantegna - Des master's paintings and copper engravings , p. XXXVIII
  15. ↑ a b Manca: Andrea Mantegna - Art and Culture in Renaissance Italy , p. 45
  16. ↑ Kristeller: Andrea Mantegna , p. 150 online
  17. ↑ Salmazo: Andrea Mantegna , p 135
  18. ↑ a b c d Blumenröder: Andrea Mantegna - the grisaille. Painting, History and Ancient Art in the Paragone des Quattrocento , p. 114
  19. ↑ a b c de Rynck, The Art of Reading Pictures , p. 62
  20. ↑ a b c Kristeller: Andrea Mantegna , p. 161
  21. ↑ Knapp: Andrea Mantegna - Des master's paintings and copper engravings , p. XXXVIII
  22. ^ A b Stützer: Painting of the Italian Renaissance , p. 86
  23. ↑ a b Blumenröder: Andrea Mantegna - the grisaille , p. 116
  24. ↑ a b Kristeller: Andrea Mantegna , p. 159
  25. ↑ a b c d Kristeller: Andrea Mantegna , p. 163
  26. ↑ Blumenröder: Andrea Mantegna - the grisaille , p. 117
  27. ↑ a b de Rynck, The Art of Reading Pictures, p. 63
  28. ↑ all information from: Bellonci: L'opera completa del Mantegna , p. 95
  29. ↑ Error in de Rynck, The Art of Reading Pictures, p. 63, cf. Bellonci p. 95
  30. ↑ Blumenröder: Andrea Mantegna - the grisaille , pp. 114/115
  31. ↑ Kristeller: Andrea Mantegna , p. 160
  32. ↑ Error in Manca, p. 48, cf. de Rynck, The Art of Reading Pictures , p. 63 and Kristeller: Andrea Mantegna , p. 163
  33. ↑ Kristeller: Andrea Mantegna , p. 164
  34. ↑ Salmazo: Andrea Mantegna , p 136
  35. ↑ Knapp: Andrea Mantegna - Des master's paintings and copper engravings , p. XL
  36. ↑ a b Kristeller: Andrea Mantegna , p. 168
  37. ↑ Kristeller: Andrea Mantegna , p. 169
  38. ↑ Kristeller: Andrea Mantegna , p. 166
  39. ↑ so z. B. Manca: Andrea Mantegna - Art and Culture in Renaissance Italy , p. 48
  40. ^ Kristeller: Andrea Mantegna , p. 167
  41. ↑ Kristeller: Andrea Mantegna , p. 171
  42. ^ Ricci, History of Art in Northern Italy , pp. 62/64
  43. ↑ Wundram, Art of the World - Renaissance , p. 222
  44. ^ Ricci, History of Art in Northern Italy , p. 181
  45. ↑ Semrau: The Art of the Renaissance in Italy and in the North , p. 217
  46. ^ Ricci: History of Art in Northern Italy , p. 135
  47. ↑ Toman (Ed.): The Art of the Italian Renaissance , p. 366
This version was added to the list of articles worth reading on December 20, 2009 .