The Entombment of Christ - Andrea Mantegna
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Beskrivning
A detailed Renaissance engraving by Andrea Mantegna depicting the Entombment of Christ, noted for its sculptural figures and precise line work.
This engraving by Andrea Mantegna depicts the Entombment of Christ, a subject that occupied the artist throughout his career. Mantegna, a master of the Italian Renaissance, utilised the medium of engraving to achieve a sculptural quality in his figures. The composition is organised around a central stone sarcophagus, which bears the Latin inscription 'HVMANI GENERIS REDEMTORI', meaning 'To the Redeemer of the Human Race'.
To the left, a group of figures supports the body of Christ, their expressions and postures conveying intense grief. The drapery of their garments is rendered with sharp, parallel lines, a technique characteristic of Mantegna's printmaking style. This method creates a sense of volume and weight, echoing the aesthetic of classical Roman relief sculpture. To the right, the Virgin Mary is shown in a state of collapse, attended by other figures, while a lone figure stands in prayer, looking towards the distant hill of Golgotha where three crosses are visible against the sky.
The background features a rocky, barren terrain that contrasts with the detailed, human-focused foreground. Mantegna's approach to anatomy and perspective reflects his deep interest in classical antiquity and his desire to bring a sense of physical presence to religious narratives. The stark, monochromatic nature of the engraving allows the viewer to focus on the emotional tension and the precise, rhythmic lines that define the forms. This work demonstrates the technical precision Mantegna brought to the print medium, influencing generations of artists who followed his approach to line and form.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Entombment of Christ - Andrea Mantegna
Artist Biography
Andrea Mantegna
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.
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