Fine Art Poster
From £37
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Madonna and Child - Andrea Mantegna
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£37.00 GBP
Actieprijs
£37.00 GBP
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Beschrijving
A masterful Renaissance engraving by Andrea Mantegna, depicting the Virgin Mary and Christ Child with precise line work and sculptural form.
This engraving depicts the Virgin Mary seated on the ground, cradling the Christ Child. Andrea Mantegna, a master of the North Italian Renaissance, utilised his technical precision to create a composition defined by sculptural weight and rhythmic line work. The figures occupy a space suggested by the diagonal hatching in the background, which provides a sense of depth without the need for architectural framing.
Mantegna is recognised for his influence on the development of printmaking. His approach to the copper plate mimics the rigour of his painting practice. The drapery of the Virgin's robes is rendered with sharp, angular folds, a characteristic feature of his style that emphasises the physical presence of the figures. The interaction between mother and child is quiet and intimate, avoiding the overt sentimentality found in later devotional works. The child rests against the Virgin, his form modelled through careful cross-hatching that defines the contours of his limbs and the soft texture of his hair.
The use of parallel lines to create shadow and volume demonstrates the artist's command over the burin. By varying the density and direction of these lines, Mantegna achieves a tonal range that gives the image a three-dimensional quality. The halo behind the Virgin is indicated by a subtle circular arrangement of lines, keeping the focus on the human connection between the two subjects. This print reflects the period's interest in humanism, presenting religious figures with a tangible, earthly reality. The composition remains balanced, with the heavy folds of the fabric anchoring the figures to the base of the frame, creating a stable and meditative image.
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Productie
Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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- Giclée-print van museumkwaliteit voor rijke, kleurvaste kleuren
- Archiefbestendig mat fine-art papier, FSC-gecertificeerd
- Diverse formaten en inlijstopties beschikbaar
- Lijsten in zwart, naturel hout, donker hout of wit
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Materialen & formaten
Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
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Madonna and Child - Andrea Mantegna
Normale prijs
Vanaf £37.00 GBP
Actieprijs
Vanaf £37.00 GBP
Normale prijs
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Andrea Mantegna
Mantegna sued his adoptive father. Francesco Squarcione, a Paduan painter and dealer, had taken the boy in around 1441 when Mantegna was roughly ten years old, the son of a woodworker. Squarcione ran a workshop that profited from apprentice labour, and when Mantegna realised the arrangement was exploitative, he took the older man to court. A judge ruled in his favour in 1448, making him legally independent at seventeen.
Padua in the 1440s was the first centre of Renaissance humanism in northern Italy. Donatello was working there on the bronze reliefs for the Basilica of Sant'Antonio; Paolo Uccello and Filippo Lippi had both passed through. Mantegna absorbed their experiments with perspective and classical form, then pushed further. His frescoes in the Ovetari Chapel (completed 1457, largely destroyed by Allied bombing in 1944) showed figures seen from below with an architectural conviction no northern Italian painter had attempted before.
In 1453 he married Nicolosia Bellini, daughter of the Venetian painter Jacopo Bellini, binding himself to the most powerful artistic dynasty in the Veneto. The relationship was productive in both directions: Giovanni Bellini, his brother-in-law, learned from Mantegna's sculptural precision while Mantegna gradually absorbed the Venetians' sensitivity to light and atmosphere, though he never fully abandoned his preference for hard, lapidary surfaces.
From 1460 until his death in 1506, Mantegna served as court painter to the Gonzaga family in Mantua. The Camera degli Sposi (completed 1474) was the first room in European painting to use illusionistic decoration across walls and ceiling as a unified architectural space. The ceiling's famous oculus, a circular opening revealing figures peering down from a balustrade against open sky, was a joke that fooled visitors and influenced decorative painting for two centuries.
Padua in the 1440s was the first centre of Renaissance humanism in northern Italy. Donatello was working there on the bronze reliefs for the Basilica of Sant'Antonio; Paolo Uccello and Filippo Lippi had both passed through. Mantegna absorbed their experiments with perspective and classical form, then pushed further. His frescoes in the Ovetari Chapel (completed 1457, largely destroyed by Allied bombing in 1944) showed figures seen from below with an architectural conviction no northern Italian painter had attempted before.
In 1453 he married Nicolosia Bellini, daughter of the Venetian painter Jacopo Bellini, binding himself to the most powerful artistic dynasty in the Veneto. The relationship was productive in both directions: Giovanni Bellini, his brother-in-law, learned from Mantegna's sculptural precision while Mantegna gradually absorbed the Venetians' sensitivity to light and atmosphere, though he never fully abandoned his preference for hard, lapidary surfaces.
From 1460 until his death in 1506, Mantegna served as court painter to the Gonzaga family in Mantua. The Camera degli Sposi (completed 1474) was the first room in European painting to use illusionistic decoration across walls and ceiling as a unified architectural space. The ceiling's famous oculus, a circular opening revealing figures peering down from a balustrade against open sky, was a joke that fooled visitors and influenced decorative painting for two centuries.
Made to order
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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