The Risen Christ between Saint Andrew and Saint Longinus - Andrea Mantegna
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A masterful Renaissance engraving by Andrea Mantegna, depicting the Risen Christ flanked by Saint Andrew and Saint Longinus with precise, sculptural detail.
This engraving by Andrea Mantegna depicts the Risen Christ positioned centrally, flanked by Saint Andrew on the left and Saint Longinus on the right. Mantegna, a master of the North Italian Renaissance, utilised the medium of engraving to replicate the sculptural quality of his paintings. The figures possess a statuesque weight, defined by precise, parallel hatching that models form and creates shadow.
Christ stands before the open tomb, his right hand raised in benediction. To his left, Saint Andrew leans against a large cross, his expression one of solemn contemplation. To the right, Saint Longinus, the Roman centurion, stands in classical armour with his hands clasped in prayer. The composition is structured with a clear sense of spatial depth, typical of Mantegna's interest in perspective and classical antiquity. The background is kept minimal, allowing the focus to remain on the physical presence of the figures and the anatomical detail of the drapery.
Mantegna's approach to engraving was innovative for the period. He treated the copper plate as he would a drawing, using varied line weights to suggest volume and texture. The metallic sheen of the armour worn by Longinus contrasts with the softer folds of the robes worn by Christ and Andrew. This work reflects the artist's preoccupation with human anatomy and the influence of Roman sculpture, which he studied extensively during his time in Padua and Mantua. The print demonstrates the technical rigour required to achieve such tonal variation using only black ink on paper. It remains a primary example of how Renaissance artists disseminated their compositions through the medium of printmaking, allowing their stylistic approach to reach a wider audience beyond the confines of private commissions.
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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 Risen Christ between Saint Andrew and Saint Longinus - 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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