San Zeno Altarpiece (Mantegna)
San Zeno altarpiece is called a triptych, which was created for the high altar of the church of San Zeno Maggiore in Verona. The six individual paintings, three large paintings and three smaller of the predella were created 1457-1460 by Andrea Mantegna. The work is one of his major works and is considered a masterpiece of its time. This is the first high altar of the Renaissance, in which the new conception of realism has been consistently applied. In addition, for the first time in northern Italy was " Sacra Conversazione " represented a.
Genesis and fate
Mantegna was through his marriage in 1454 with Nicolosa Bellini Jacopo Bellini, a son. The contract for the altar, he was probably towards the end of 1456 by Gregorio Correr, abbot of the Benedictine monastery of San Zeno at Verona and papal prothonotary. Correr, trained in the school of Vitorino da Feltre was later to become Patriarch of Venice. Want to get a part of the correspondence between Mantegna, Correr and the Marquis of Mantua, Luigi III. Gonzaga. So reports a letter dated January 5, 1457 on the approval of the contract by the court of Mantua. Mantegna was already active at this time. In another letter dated November 27, 1457, April 15, 1458 and February and June 28, 1459 Luigi III inquired. according to the progress of work. The altar was against the wishes of the Marquis completely in Mantegna's workshop in Padua and met in July 1459 in Verona. Mantegna was known for his slow style of painting. This was also a result of special, continuous care to the last detail. First fairs were held after assembly 1460.
The altar remained at its location on the high altar of the church until the invasion of Italy by Napoleonic troops 1797. In that year he was transferred to Paris. After the defeat of Napoleon and the Congress of Vienna in 1815, he was only partially returned, the three images below the predella remained in France. The middle image, the crucifixion scene is now shown in the Louvre; the other two are to be seen in the Musée des Beaux -Arts in Tours. After the return of the altar was not rebuilt in its original location at the high altar, but in the church choir - according to some art historians much too high. The missing images have been replaced with copies, the Giovanni anfertigte Cagliari in the 19th century.
The Framing
The frame of the altar is made of gilded and painted wood. He was certainly designed along with the frames, as they take in their perspective system with respect to the structure itself. Mantegna made him well finished by a sculptor to their specifications. Model for the structure of the entire altar was probably Donatello's altar for Sant'Antonio in Padua, built in 1450, and the painting Madonna with the four Fathers of Antonio Vivarini in the Accademia in Venice. The crafted according to ancient models framework in the style of an ancient temple facade was a complete novelty in Verona, where purely late Gothic art was used to.
In the lower part of the three smaller images of four sturdy, ornate and gilded pedestals are enclosed and separated. The middle three panels are bordered by standing on the pedestals, plastically carved, gilded and fluted half-columns with Corinthian capitals. The top section of the form and the architrave above it segmental arch, which expires in two lateral volutes. Architrave and segmental arch are painted and gilded.
Top panels
The theme of the Sacra Conversazione specifies the structure of the three upper panel paintings. The Virgin Mary with the infant Jesus located in the central part of the altar. Groups of saints and other people are represented in the two side panels. Each image takes the format of 220 × 115 cm.
Mantegna designed the space of representation as a perspective back expiring, strictly symmetrical tempietto or " Temple Pavilion", which is covered by a coffered ceiling above a frieze running all around Putten. Empire carved garlands of fruit and fruit give the images despite the pillars of a mediating element and also create the painted suspension from hooks above the capitals additional depth. The composition follows the overall principles of the trompe- l'oeil painting. That has been visible even in strongly foreshortened floor tiles. The square pillars with marble veneers are adorned with eight visible in relief medallions, seven of which can be traced back to ancient gems or coins.
In the light conduction, Mantegna oriented at the original site of the high altar, so he was expecting a light from the top right. The figures in the left panel are therefore shown with bold colors, while the image of people group on the right panel remained pale. The most colors, however, were used for the middle panel. Because the light at the present site of the altar incident from the upper left, which is difficult to detect.
The middle panel contains the motif of Mary with the baby Jesus. The Madonna is seated on a stone throne, the backrest is adjusted a decorative window in wheel shape in the top end and has the effect of again both figures surrounding halo. Maria supports, unusual in the presentation, the feet of the standing boy with the left hand while the right hand holds him. This is interpreted as a presentation of Knabens within the meaning of the promise of salvation. The presence of God is seen through the lighted candle in the center of the image above the head of Mary. The carpet, which can be seen below the throne, could be modeled on a Anatolia derived from original in the family of the client. On it is a small year " 1433 " noted; this was the year in which the Abbey of San Zeno Correr "ad commendam " were awarded. The vanishing point of the central perspective construction of space is located in the center of the covert from the carpet rim. Since this is held by putti also concealed behind which a box-like structure is located, it has been assumed that at the feet of the Madonna an ancient sarcophagus was presented. This is interpreted as a portrait of the overcoming of death by faith and thus as another promise to be considered believers. The view of Mary is directed from the image on the viewer or praying, while the baby Jesus looks at the music-making angels surrounding him. Below the picture is a group music making childish figures of angels. In particular, the right external figure of a playing instruments and singing child with bloated cheeks and wrinkled legs is considered as an example of the highly naturalistic style of Mantegna. Above the Maria are two medallions on the pillars of the temple construction. Links a centaur is represented by Christ, the right a man a horse. This motif to have been taken over by a group of sculptures in Rome, but with a modification. The added Caduceus suggests that it is Mercurius and its Pegasus. This could be a reference to the accompaniment of the soul after death.
On the left panel paintings are under an architectural representation and a garland of four people. They represent, as those of the right panel, the virtues of the founder, especially his erudition in the sense of the pursuit of knowledge gained from the study of religious works. Almost every figure is holding a book in his hand. These are - from left to right - to the St. Peter, the St. Paul, Saint John and to the patron saint of the city of Verona, Saint Zeno. Peter with yellow cape over a red garment is shown with particularly strong colors. He stands apart from its neighbors whose garments are decorated in dark colors, from clear. Above the group of people round medallions are attached with reliefs on the pillars again. Again and builds on classical models: Above Peter and Paul is the enlarged and varied picture of a coin of Hadrian, on the front of the left rear pillar is an illustration of Victoria with a Tropaion.
The right picture shows the upper part - from left to right - the St. Benedict, the St. Lawrence, the St. Gregory, and, on the right edge, the St. John. The medallions of the pillar above the images of Gregory and Lawrence and the posterior column of the right panel side could have been in turn inspired by antique models, possibly from gems or reliefs of ancient sarcophagi. All people take a different postures and have individual characteristics; they are not presented as an ideal figures, but as a true person. Maybe they were designed for friends or acquaintances Mantegna. This also contributes to the particular impression of the image.
The predella
The middle image of the predella has the dimensions 67 x 93 inches, the two sides are 70 x 92 inches in size. As outstandingly applies the already inserted from the beginning, in the middle of the crucifixion scene. Mantegna chose a pattern borrowed from Netherlandish models central perspective construction, reminiscent of Jan van Eyck. The arms of the cross to the good thief on the right and the evil thief on the left walking towards the center of the central cross of Jesus. Jesus is with a lean body and a painful face shown as realistic as the other two figures. The light from the right to the body of Jesus and to the left "good" thief serves to emphasize contrasts between the characters and feelings. The mourners stand in the light, while for Jesus' clothes dicing soldiers remain in the shadow of the mountain. A pen and ink drawing by Mantegna in brown ink, which is now in the British Museum in London, was perhaps a preliminary study for this presentation. The foreshortened group of soldiers dicing is art-historically the more remarkable because it is seen as the first hint of a genre painting.
The left Predellbild represents the scene of Christ on the Mount of Olives Represents the light is coming from behind the front scene. Very finely drawn, the trees and the landscape. Christ prays, while the apostles are shown still asleep. Carefully constructed Mantegna the contrasts between the cold light mood of the morning and the warm light emanating from Jesus. The light guide is seen as a forerunner of the later light treatment Antonio da Correggio.
The right image shows the resurrection of Christ. The Risen rises, surrounded by a halo, from his sarcophagus. The soldiers facing it are paralyzed by fear. The main effect is due to the contrast between the peace of the Risen Lord and the horror of his guards. The presentation is often compared to the resurrection of Christ by Piero della Francesca. Piero della Francesca, however, offered an image that was characterized by an almost total immobility of the figures.
Reception
It achieved already by contemporaries " with great enthusiasm " and brought Mantegna " great success and respect." As directly influenced art Gentile Bellini's triptych, inter alia, Madonna with the Saints for the church of Santa Maria Gloriosa dei Frari in Venice from 1488 as well as that of the Cremonese painter Vincenzo Civerchios apply 1491 created Sacra Conversazione, now exhibited in the Louvre. The altar was a model for the Venetian painting and a major source for the later Veronese painting. Artists such as Francesco Benaglio and the early Francesco Bonsignori took on the suggestions. Mantegna's complete works influenced artists from Albrecht Dürer to Peter Paul Rubens and Nicolas Poussin.