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carved columns of the frame, which are located in the space of the viewer, are unified with the painted garlands that are located in the immediate foreground of the pictorial space. Moreover, Mantegna's use of perspective allows the saints and several of the architectural elements and decorations to recede into the space, furthering the illusion of depth. Mantenga's convincing spatial depth found in the San Zeno
Altarpiece began a stylistic and technical tradition that would continue on through the Cinquecento in other illusionistic altarpieces by
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211:. Despite seeing other artists change their color schemes he stuck to his own ideas and own techniques, which differentiated Mantegna from other Renaissance artists. The scholars Steven Zucker and Beth Harris note that the ancient, classical "past" is mostly painted in shades of grays, painted in the style of
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Another technique
Mantegna employed in the San Zeno Altarpiece was linear point perspective in order to enhance the continuous image behind the pillars so as to make the image appear more realistic to the external world. The illusionism of the image was further achieved through the real four wooden
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to portray the holiness of the saints painted in the altarpiece. Pseudo-Arabic script is a kind of writing that has no linguistic or actual meaning, but rather is a kind of script inspired by the Arabic alphabet. This script can be seen in the garments, and haloes surrounding the
Madonna and Child,
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in this
Renaissance painting, found draped at the foot of the throne on which the Madonna sits, functions as both an expensive and honorific covering, but also allowed Mantegna to show off his skill a painting such a finely crafted object that was produced solely in Islamic lands. Furthermore, the
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stripped the panel apart, taking the central panel, as well as the three predella paintings to Paris in 1797. Only the central panel was returned after
Napoleon lost power in 1815, but the three original predella have never been returned, and thus those seen in the altarpiece today are copies.
203:. While sometimes described as "lost" this work by Donatello survives but was incorrectly restored in the 19th century, thereby losing some of the artist's initial design and it has been argued by scholars that Mategna's work may better illustrate what Donatello originally intended.
472:, which demarcated individual scenes by these architectural dividers and thus there was not a continuous narrative across the pictorial space. An example of this non-continuous narrative with the use of gold columns that spatially divide the scenes can be found in
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Mantegna incorporated noticeably bright and rich colors of reds, blues, yellows and green that was likely a reaction to earlier critics who had negatively commented on the opaque colors in the famous frescos painted from 1454 to 1457 (destroyed in 1944) in the
462:; this superimposition blends together the carving of the frame with the painted illusionism of the pagan temple of the central scene. Stylistically, Mantegna's use of a continuous narrative that unfolded behind the carved columns and the painted square
167:. The San Zeno altarpiece was commissioned and made to depict a heavenly realm. This was intended so the viewers would aspire for a position in the "court of heaven" in communion with the religious figures portrayed in the altarpiece. Furthermore,
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frame (see below: frame) help create the allusion to a classical, pagan temple with a foreground decorated with classical garlands of foliage and fruit tied together with red ribbons. In the background of the temple is a continuous decorative
414:. Despite being smaller components of this altarpiece, these paintings display Mantegna's attention to detail and precision as an artist in his quest to render a memorable and historical depiction of the Passion of Christ in Italian art.
175:, is believed to have introduced Christianity to Verona, therefore this altarpiece is named in his honor. After his work on the San Zeno Altarpiece, Mantegna finally arrived in Mantua in the year 1460 to serve as the court artist to the
450:. Despite the separating the scenes, the painting behind these carved Corinthian columns is continuous. In fact, if looking closely, the real carved Corinthian columns of the frame are placed directly in front of the painted square
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sitting on a marble throne, surrounded by eight saints. These eight saints are placed on the side panels that flank the central figures of the
Madonna and child; this was done according to the patron's preferences: on the left are
121:, were taken in 1797 by the French. While the main, central scene was returned by the French to Verona in 1815, the three predella paintings in Verona today are copies, since the original ones remain in France at the
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function to further emphasize their greatness and holiness. The incorporation of the pseudo-Arabic script in these specific areas is an idea that is borrowed from the
Islamic embroidered textiles, known as
183:, three years before, in 1457, but disagreements about Mantegna's pay and status delayed his arrival and it was during this period of postponement that he worked on the San Zeno Altarpiece.
215:(an exception is the colorful garlands of fruit that are tied with red ribbons), while the Christian elements, show in the "present", are denoted by the use of bright, saturating colors.
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The altarpiece consists of a frame, a central painting separated into three main sections, and on the bottom, a predella with three paintings that depict biblical scenes.
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and have not been returned; those seen in the altarpiece today are all copies, while the originals remain in two different French museums. The image of the
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Hanging above the
Madonna and in between the festooned garlands hangs a burning oil lamp with a flame, surmounted by a large ostrich egg, symbolizing the
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oriental carpet spatially demarcated the space of the
Madonna as holy and sacred. A similar Italian Renaissance example can be found in
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classical themes along with
Christian subjects in this altarpiece. The central panel, along with the three paintings that comprise the
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to the actual painted central scene, which is set in a pagan temple (see above: Central and side panels). The frame has a rounded
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that divide the three scenes of the central panel, as well as the three scenes of the predella. The frame has been described as a
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De Marchi, Andrea; Del Puppo, Alessandro; Eveno, Myriam; Gilet, Annie; Ravaud, Elisabeth; Winling, Christel (June 2009).
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While the frame is original, the decoration that originally ornamented the center of the pediment has been lost.
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and refers to an assembly of saints from different periods of history, while surrounding the Madonna and child.
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in the town of Verona in northern Italy and currently still stands there. As described above (see: predella),
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creates a unified pictorial plane. This approach was markedly different than the approach popular during the
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Mantegna's depiction of the figures, specifically that of St. John the Baptist, illustrates his use of
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The San Zeno Altarpiece was commissioned around 1456 to 1459 by Gregorio Correr, a Venetian nobleman,
1072:. Kathleen Christian, Leah Ruth Clark. Manchester: Manchester University Press; The Open University.
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680:"Fictionality in Mantegna's San Zeno Altarpiece Structures of Mimesis and the History of Painting"
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993:(3rd ed.). Upper Saddle River, N.J.: Pearson/Prentice Hall. pp. 264–265, 323–324.
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The San Zeno Altarpiece is often considered to be a pictorial rendition of the artist
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Altarpiece) made for the high altar dedicated to Sant'Antonio (c. 1446-1453) in the
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939:(7th ed.). Upper Saddle River, NJ: Prentice Hall. pp. 290, 399–403.
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On the bottom portion of the altarpiece, three paintings are displayed in the
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of the altarpiece. These paintings portray biblical scenes that occurred in
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212 cm Ă— 460 cm (83 in Ă— 180 in)
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550:(completed in 1542), which shows two oriental carpets (referred to as
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History of Italian Renaissance Art: Painting, Sculpture, Srchitecture
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References to the East: Pseudo-Arabic Script and Oriental Carpet
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818:"Andrea Mantegna: La Prédelle de San Zeno de Vérone 1457-1459"
338:. Surrounding the enthroned Madonna and Child are a group of "
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865:. New York, NY: Thames & Hudson. pp. 163–165, 219.
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518:(1505). Below the oil lamp is a strand of red rosary beads.
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243:(in a green cloak shown looking into a book he holds); and
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The frame is carved from wood that has been gilded. Four
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Style, subject and description of the San Zeno Altarpiece
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overspilling with fruit. Above this frieze is a classic
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The San Zeno Altarpiece was originally created for the
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A study made for the painting, now at the Getty Museum
380:, the three paintings of the predella were stolen by
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294:. The entire composition, which recalls an outdoor
1026:. Temporis Collection. New York, N.Y.: Parkstone.
861:Campbell, Stephen J.; Cole, Michael Wayne (2012).
109:, the main church of the Northern Italian city of
535:. In addition, the illusionistic portrayal of an
226:The central section of the painting displays the
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678:ThĂĽrlemann, Felix; McKee, Cheryl Spiese (1989).
255:(wearing a dark blue cloak and holding a book);
163:scholar, and administrator for and abbot of the
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1553:The Introduction of the Cult of Cybele at Rome
1068:Christian, Kathleen; Clark, Leah Ruth (2017).
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991:Art, Power, and Patronage in Renaissance Italy
446:that recalls the architectural elements of an
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326:motif that serves as a border. On the square
1279:Saint Bernardino of Siena Between Two Angels
935:Hartt, Frederick; Wilkins, David G. (2011).
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1070:European Art and the Wider World, 1350-1550
1024:Andrea Mantegna and the Italian Renaissance
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989:Paoletti, John T.; Radke, Gary M. (2005).
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195:'s sculpted bronze reliefs (known as the
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181:Ludovico III Gonzaga, Marquis of Mantua
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1271:Portrait of Cardinal Ludovico Trevisan
790:"Andrea Mantegna, San Zeno Altarpiece"
1293:Christ Bearing the Soul of the Virgin
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1231:Saint James Led to His Execution
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239:(wearing a light purple cloak);
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1215:Saint Jerome in the Wilderness
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1647:Paintings of Paul the Apostle
1642:Paintings of John the Baptist
1632:Tourist attractions in Verona
1309:Portrait of Francesco Gonzaga
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1489:Exemplary Women of Antiquity
1377:Portrait of Carlo de' Medici
825:Musée des Beaux-Arts / Tours
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1672:Paintings of Pope Gregory I
1317:Madonna with Sleeping Child
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637:Detail of the central panel
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1207:Adoration of the Shepherds
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113:. Mantegna's style mixes
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1393:Madonna of the Cherubim
863:Italian Renaissance art
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516:San Zaccaria Altarpiece
222:Central and side panels
1545:Triumph of the Virtues
1505:Madonna della Vittoria
1022:Manca, Joseph (2006).
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269:Saint John the Baptist
259:(wearing a dark green
1417:Lamentation of Christ
1362:Adoration of the Magi
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448:Ancient Greek temple
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368:Crucifixion of Jesus
251:); on the right are
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1465:Christ the Redeemer
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1287:Death of the Virgin
1263:Agony in the Garden
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1223:San Luca Altarpiece
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277:sacra conversazione
148:Agony in the Garden
82:San Zeno Altarpiece
22:San Zeno Altarpiece
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1484:(Washington; 1495)
1457:Descent into Limbo
1401:Triumphs of Caesar
714:– via JSTOR.
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482:from around 1300.
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1476:(Dublin; c. 1495)
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1301:Portrait of a Man
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1033:978-1-85995-012-8
946:978-0-205-70581-8
872:978-0-500-28943-3
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1471:
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1449:Resurrection
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1358:Circumcision
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1133:Smarthistory
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936:
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824:
797:. Retrieved
793:
734:, retrieved
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568:
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552:Lotto Carpet
545:
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507:
500:Virgin birth
497:
484:
477:
467:
421:
401:
397:Resurrection
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324:egg-and-dart
288:contrapposto
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273:contrapposto
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142:Resurrection
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49:c. 1456–1459
1581:(1465–1474)
1537:Holy Family
1500:(1495–1500)
1492:(1495–1500)
1460:(1492–1493)
1452:(1492–1493)
1444:(1490–1500)
1255:Crucifixion
1202:(1448–1457)
510:(1472) and
456:Ionic order
444:entablature
387:Crucifixion
366:, like the
336:sarcophagus
292:iconography
233:Saint Peter
128:Crucifixion
115:Greco-Roman
1611:Categories
1193:Saint Mark
1088:1200306384
799:2023-04-18
736:2023-04-24
655:References
589:Provenance
390:is at the
348:song books
320:cornucopia
300:Corinthian
245:Saint Zeno
237:Saint Paul
90:altarpiece
62:Dimensions
1662:Triptychs
1548:(c. 1502)
1540:(c. 1500)
1532:(c. 1500)
1529:Ecce Homo
1420:(c. 1490)
1404:(c. 1486)
1396:(c. 1485)
1354:Ascension
1328:(c. 1460)
1320:(c. 1470)
1312:(c. 1461)
1304:(c. 1460)
1296:(c. 1461)
1266:(c. 1459)
1250:(c. 1458)
1242:(c. 1455)
1218:(c. 1451)
1185:Paintings
1042:793996522
955:430523019
881:755982774
704:0028-6087
464:pilasters
452:pilasters
426:serve as
364:Jerusalem
328:pilasters
213:grisaille
193:Donatello
87:polyptych
1572:Frescoes
1364:) (1462)
1009:57625761
606:Predella
599:Napoleon
585:(1505).
579:(1488);
573:(1487);
469:Trecento
440:pediment
382:Napoleon
370:and the
360:predella
354:Predella
318:holding
281:Trecento
261:dalmatic
169:St. Zeno
161:humanist
119:predella
70:Location
1589:Related
432:portico
410:at the
406:are in
377:in situ
305:of the
105:in the
102:in situ
92:by the
1564:(1506)
1524:(1497)
1516:(1497)
1508:(1496)
1468:(1493)
1428:(1490)
1372:(1464)
1336:(1460)
1282:(1460)
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1226:(1453)
1196:(1448)
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953:
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879:
869:
731:Louvre
712:469365
710:
702:
474:Giotto
436:façade
312:frieze
307:gilded
296:loggia
173:Verona
123:Louvre
111:Verona
54:Medium
36:Artist
821:(PDF)
708:JSTOR
554:).
533:tiraz
418:Frame
408:Tours
332:tondi
316:putti
249:mitre
197:Santo
137:Tours
85:is a
1290:and
1084:OCLC
1074:ISBN
1038:OCLC
1028:ISBN
1005:OCLC
995:ISBN
951:OCLC
941:ISBN
877:OCLC
867:ISBN
700:ISSN
442:and
400:and
344:lute
145:and
79:The
46:Year
692:doi
544:'s
514:'s
506:'s
476:'s
458:of
434:or
263:);
135:in
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662:^
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883:.
827:.
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