![]() From about 1490 Mantegna employed Antonio da Brescia to engrave copies to satisfy this demand for them - included among these is a variation of this composition. Collectors accepted prints taken from drawings as originals to be prized in their own right. Whether this print was engraved by Mantegna or someone working from his drawings, it reflects a new practice of artists reproducing their drawings in print. The attribution of this work to Mantegna himself is based on comparison between the preparatory drawing and print, showing how changes to the design were engraved directly onto the plate without preparation. This print is among those that some scholars include in an expanded list of works engraved by Mantegna himself. From 1475 Mantegna is known to have been looking for a professional engraver to work for him, but one is not known of until the 1490s. 1470 Andrea Mantegna Ignorance and Mercury, n.d. There has been some debate about whether Mantegna engraved more than the seven works usually assigned to him, or even whether he engraved any himself. 1465 Andrea Mantegna Bacchanal with a Wine Vat, c. It also shows Mantegna's interest in rock formations, which he studied from nature. It can be seen at the National Gallery until 27 January 2019.The composition is famous for the unusual placement of the figure of Christ, with his back to the viewer as he enters into Limbo. Through exceptionally rare loans of paintings, drawings, and sculpture, travelling to London from across the world, Mantegna and Bellini offers a once-in-a-lifetime opportunity to compare the work of these two important artists who also happened to be brothers-in-law - a family connection from which both drew strength and brilliance throughout their careers. Mantegna and Bellini is the first ever exhibition devoted to the relationship between two of the greatest artists of the Italian Renaissance: Giovanni Bellini (active about 1459-1516) and Andrea Mantegna (1430/1-1506). The work has now been returned to Andrea Mantegna, and the decision to lend it to the National Gallery in London, upon completion of the restoration, is the worthy culmination of an inspired journey of research." The generous participation of so many people and the great interest of the public, who were able to follow the work every step of the way in one of the museum galleries, make this an exemplary project. Cristina Rodeschini, Director of Accademia Carrara of Bergamo said: "The end of a restoration project is always a moment of satisfaction, and this is true to an even greater degree following the extremely delicate work on Andrea Mantegna's 'The Resurrection of Christ'. We are incredibly grateful to our colleagues at the Accademia Carrara for making this possible." These are important works from Mantegna's later career - from the period he was working in Mantua and produced incredibly refined works for the court of the Gonzaga family, so we are thrilled to be able to give visitors to the exhibition a first chance to see the works reunited. It is now displayed as it was conceived, above 'The Descent of Christ into Limbo' which is on loan to the exhibition from a private collection. Since the Mantegna attribution (May 2018), The Resurrection of Christ has undergone restoration to remove 19th-century varnish and repaint, before travelling to London to be hung above The Descent of Christ into Limbo, which was already in Room 2 of the exhibition.Ĭaroline Campbell, National Gallery Director of Collections and Research says "We are absolutely delighted that 'The Resurrection of Christ' from the Accademia Carrara in Bergamo has travelled to London to join our 'Mantegna and Bellini' exhibition. ![]() It is not known exactly when the pictures were separated, however it was very common for Italian paintings of this date to be divided when their function changed, particularly if they were made for a religious context. It is believed the panels were painted for the chapel in the castle at Mantua, where Mantegna spent much of his life working as a court painter for the Gonzaga family. ![]() Comparisons were made with several works before the link was established with The Descent of Christ into Limbo. ![]() The re-evaluation of The Resurrection of Christ came after the discovery of a small cross beneath the stone arch, which suggested it may have been part of a bigger panel. The lower half, The Descent of Christ into Limbo (around 1492), has been loaned to the National Gallery by a private collector. The upper section, The Resurrection of Christ (around 1492) has been in the collection of the Accademia Carrara in Bergamo since the 19th century, but was only recently re-attributed to Mantegna. Visitors to the critically acclaimed Mantegna and Bellini exhibition at the National Gallery can now see two panels of a single painting by Andrea Mantegna that have just been reunited for the first time in possibly 500 years. The Resurrection of Christ being installed above The Descent of Christ into Limbo in Mantegna and Bellini - The National Gallery, London © ![]()
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