Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of Andrea Mantegna 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
81877		3rd third of 15th century	Oil on canvas Dimensions Deutsch: 136 x 114 cm cyf
42264		A Bacchanal with silengus	mk168 298x435mm
42263		A Bacchanal with Silenus	mk168 Engraving 292x448mm
2717		Adoration of the Magi	Galleria degli Uffizi, Florence
30423		Adoration of the Magi	mk68 Tempera on wood Florence,Uffizi.
94652		Adoration of the Magi	1462 Type Tempera on panel Dimensions 76 cm x 76.5 cm (30 in x 30.1 in) cyf
41271		Adoration of the Shepherds	mk161 Tempera on canvas transferred from wood
40216		Agony in the Garden	mk156 c.1459 Oil on panel Musee des Beaux-Arts de Tours. Tours
21234		Agony in the Garden (mk08)	c.1460 Tempera on wood 63x80cm London,National Gallery
94651		Bernardino of Siena between Two Angels	1460 Type Tempera on canvas Dimensions 385 cm x 220 cm (152 in x 87 in) cyf
50866		Caesar-s Chariot	mk216 Caesar-s Chariot rom the triumph of caesar Mantegna was the most important 15-century North Italian painter and the Triumph of Caesar may well be his masterpiece Even Today
20074		Calvary (mk05)	1457-60 Wood,30 x 38''(76 x 96 cm)Center of the predella painted for the Church of San Zeno in Verona;entered he Louvre in 1798
2728		Camera degli Sposi	1474 Palazzo Ducale, Mantua, Italy
2731		Camera degli Sposi	1474 Palazzo Ducale, Mantua, Italy
40222		Camera Picta,Ducal Palace	mk156 1465-1474 Fresco Palazzo Ducale Mantova
88786		Ceiling decoration	between 1465(1465) and 1474(1474) Medium Walnut oil on plaster and fresco cyf
30433		Ceiling Oculus	mk68 Fresco,diameter of central part Mantua Ducal Palace Camera Picta
53701		Christ in Gethsemane	mk234 about 1460 63x81cm
2725		Christ the Redeemer	Congregazione di Carita, Correggio
83254		Christ Welcoming the Virgin in Heaven	Date between 1460(1460) and 1464(1464) Medium Oil on wood cjr
78127		Christus als Schmerzensmann	1489 Oil on panel 83 x 51 cm cjr
81464		Christus als Schmerzensmann	1489 Medium Oil on panel Dimensions 83 x 51 cm cyf
30424		Crucifixion,from the San Zeno Altarpiece	mk68 Tempera on wood 26 1/2x36 1/2 Paris. Louvre
79068		Dalia und Samson	1495 Oil on canvas 47 x 37 cm cjr
42510		De died Christ	m k169 after 1466. Tempered on cloth 67.9x81cm Pinacoteca Tue Brera, Milan
21235		Dead Christ (mk08)	Tempera on canvas 66x81cm Milan,Pinacoteca di Brera
40204		Death of the Virgin	mk156 c.1461 Oil on panel 54x42cm
84678		Death of the Virgin	Date between 1460(1460) and 1464(1464) Medium Oil on wood cjr
88578		Death of the Virgin	between 1460(1460) and 1464(1464) Medium Oil on wood cyf
51716		Detail of Ceiling from the Camera degli Sposi	nn09 c.1474
42902		Detail of The Agony in the Garden	mk170
59749		Detail of the frescoes in the Camera degli Sposi in the Palazzo Ducale in Mantua	Detail of the frescoes in the Camera degli Sposi in the Palazzo Ducale in Mantua
55985		ecce homo	mk247 c.1500,tempera on canvas,21.25x16.5 in,54x42 cm,musee jacquemart-andre,paris,france
30430		Family and Court of Ludovico Gonzaga	mk68 Fresco Mantua, Ducal Palace,Camera Picta 1465-1474 ltaly
30438		Foreshortened Christ	mk68 Tempera on canvas 26 3/4x32" Milan,Brera Gallery c.1480
73332		Freskenzyklus in der Camera degli Sposi im Palazzo Ducale in Mantua, Szene: Zusammentreffen von Herzog Ludovico Gonzaga mit Kardinal Francesco Gonzaga	Freskenzyklus in der Camera degli Sposi im Palazzo Ducale in Mantua, Szene: Zusammentreffen von Herzog Ludovico Gonzaga mit Kardinal Francesco Gonzaga, Detail: Francesco und Sigismondo Gonzaga, Söhne des Kardinal Francesco Gonzaga. cjr
97361		Grotesque self portrait	between 1465(1465) and 1474(1474) Medium Walnut oil on plaster cyf
87992		Grotesque self-portrait	between 1465(1465) and 1474 cyf
78435		Hl. Familie mit Hl	Oil on canvas Dimensions 75 x 61 cm cyf
76551		Hl. Familie mit Hl. Elisabeth und Johannesknaben	Oil on canvas 75 ?? 61 cm cjr
42265		Innsbruck Seen From the North	mk168 127x187mm
87993		Inscription with Putti	between 1465(1465) and 1474 cyf
87994		Inscription with Putti	between 1465(1465) and 1474 cyf
42272		Island Abode	mk168 213x225mm London British Museum
53700		Judit with Holofernes-head	mk234 about 1495 30x18cm
2722		Judith and Holofernes	1495-1500 The National Gallery of Ireland, Dublin
2723		Judith and Holofernes	1495-1500 The National Gallery of Ireland, Dublin
91533		Judith with the head of Holofernes	1495(1495) Medium oil on panel cyf
56629		klagan over den dode kristus	mk248 mantegna bar ramat in ett begransat rum pa ett satt som rent arkitektoniskt definierar det som ett barbus ocb sin erfarenbet av klassiska modeller frmedelar ban genom kristusgestalten en imponerande strambet. hans masterliga forminskning gor ocksa att betraktaren uppmarksammar de genomborrade fotterna, oavsett ur vilken vinken vinkel verket betraktas. malade fran mantegnas modeller av vikt papper ocb fastklistrat tyg.
42266		Landscape near Segonzano in the Cembra Valley	mk168 Watercolor on paper 210x312mm
56628		ludovico ii gonzag moter sin son	mk248 freskernarna i camera degli sposi i bertigpalatset i mantua ar slaende exempel pa 1400-tllusionism.
2718		Madonna and Child	1506 Galleria degli Uffizi, Florence
29794		Madonna and Child	mk67 Tempera and panel 11 7/8x8 7/16in Uffizi,Gallery
40255		Madonna and child	mk156 1485 Oil on panel 29x21.5cm
2733		Madonna and Child with Cherubs	Pinacoteca di Brera
78781		Madonna mit Hl. Maria Magdalena und Hl. Johannes dem Taufer	3rd third of 15th century Oil on canvas 136 x 114 cm cjr
2724		Madonna of Victory	Musee du Louvre, Paris
53699		Mansportratt	mk234 probably about 1460 24x19cm
85322		Maria mit Kind und Engeln	Date 1485 Medium Oil on panel Dimensions Deutsch: 88 x 71 cm cjr
89529		Maria mit Kind und Engeln	1485 Medium oil on panel Dimensions Deutsch: 88 x 71 cm cyf
20086		Mars and Venus Known as Parnassus (mk05)	Painted like the following six pictures,for the studio of Isabella d'Este in the Ducal Palace at Mantua Canvas,62 1/2 x 751/2''(159 x 192 cm).Entered the Louvre in 18001
58331		Medici portrait	mk261 Florence in 1466 egg tempera of wood 41.3 x 29.5 cm
20087		Minerva Chases the Vices from the Garden f Virtue (mk05)	ca 1502 Canvas 63 x 75 1/2\'\'(160 x 192 cm)Entered the Louvre in 1801
44857		Parnassus	mk176 c.1490 Oil on canvas 63.5x75.37in
2729		Portrait of a Man aaa	1460 National Gallery of Art, Washington DC
30429		Portrait of Cardinal de'Medici	mk68 Tempera on wood 16x11 1/2 Florence,Uffizi, c.1466 ltaly
21195		Portrait of Cardinal Lodovico Trevisano (mk08)	c.1459-1469 Tempera on wood 44x33cm Berlin,Gemaldegalerie,Staatliche Museenzu Berlin-Preubische Kulturbesitz
40220		Portrait of Carlo de Medici	mk156 1467 Oil on panel 40.6x29.5cm
29792		Portrait of Carlo de'Medici	mk67 Tempera on panel 16x11 7/16in Uffizi,Gallery
2719		Portrait of the Protonary Carlo de Medici	1459-66 Galleria degli Uffizi, Florence
2732		Presentation at the Temple	Gemaldegalerie, Berlin
51717		Putti Holding Dedicatory Tablet	nn09 c.1474 Fresco
2720		Samson and Delilah	National Gallery, London
68140		San Girolamo nel Deserto	Year from 1448(1448) until 1451(1451) (from 1450(1450) until 1451(1451)?) Technique Tempera on panel Dimensions 48 X 36 cm
59747		San Luca Altarpiece	San Luca Altarpiece, 1453; Tempera on panel; Pinacoteca di Brera, Milan
59748		San Zeno Altarpiece,	San Zeno Altarpiece, (central panel), 1457-60; San Zeno, Verona
20079		Sebastian	ca 1480 canvas,100 1/2 x 55''(255 x 140 cm)Entered the Louvre in 1910
38490		Servant with horse and dog	mk137 1471-1474 fresco Camera Picta, Palazzo Ducale, Mantua
39582		St Sebastian	mk150 c.1459
42633		St. Sebastiaan	MK169 ca. 1460 Panel 68x30cm Kunsthistorisches Museum, Weep
2721		St.Sebastian	1459-60 Art History Museum, Vienna
41192		St.Sebastian	mk157 1504-6 Canvas 210x91cm
84148		Suite of Cardinal Francesco	Date between 1465(1465) and 1474(1474) Medium Walnut oil on plaster cjr
87990		Suite of Cardinal Francesco	between 1465(1465) and 1474 cyf
87991		Suite of Cardinal Francesco	between 1465(1465) and 1474 cyf
38455		The adoration of the Konige	mk137 ca.1497-1500 Tempera and gold on linen 54.6x70cm
2730		The Agony in the Garden	1460 National Gallery, London
42901		The Agony in the Garden	mk170 Circa 1460 Tempera on wood 62.9x80cm
59746		The Agony in the Garden	The Agony in the Garden (right panel of the predella of the San Zeno Altarpiece, 1455) National Gallery, London is the pinnacle of Mantegna's early style.
23365		The Agony in the Garden (nn03)	c 1460 Tempera on panel 63 x 0 cm 24 3/4 x 31 1/2 in National Gallery London
42269		The Battle of the Sea God with the initial of the artist and the date	mk168 1494 Pen and ink on paper 292x382mm
42267		The Battle of the Sea Gods	mk168 Engraving in two parts 313x438mm
42271		The Castle and Town of Arco	mk168 Watercolor and body color on paper 223x222mm
85842		The Court of Gonzaga	Date between 1465(1465) and 1474(1474) Medium Walnut oil on plaster Dimensions Height: 805 cm (316.9 in). Width: 807 cm (317.7 in). cjr
88001		The Court of Gonzaga	Date between 1465(1465) and 1474 cyf
88002		The Court of Gonzaga	Date between 1465(1465) and 1474 cyf
88003		The Court of Gonzaga	Date between 1465(1465) and 1474 cyf
88004		The Court of Gonzaga	Date between 1465(1465) and 1474 cyf
88005		The Court of Gonzaga	Date between 1465(1465) and 1474 cyf
88006		The Court of Gonzaga	Date between 1465(1465) and 1474(1474) cyf

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Andrea Mantegna

Italian 1431-1506 Andrea Mantegna Locations Mantegna was born in Isola di Carturo, close to Padua in the Republic of Venice, second son of a carpenter, Biagio. At the age of eleven he became the apprentice of Francesco Squarcione, Paduan painter. Squarcione, whose original vocation was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a faculty for acting. Like his famous compatriot Petrarca, Squarcione was something of a fanatic for ancient Rome: he travelled in Italy, and perhaps Greece, amassing antique statues, reliefs, vases, etc., forming a collection of such works, then making drawings from them himself, and throwing open his stores for others to study. All the while, he continued undertaking works on commission for which his pupils no less than himself were made available. San Zeno Altarpiece, (left panel), 1457-60; San Zeno, VeronaAs many as 137 painters and pictorial students passed through Squarcine's school, which had been established towards 1440 and which became famous all over Italy. Padua was attractive for artists coming not only from Veneto but also from Tuscany, such as Paolo Uccello, Filippo Lippi and Donatello. Mantegna's early career was shaped indeed by impressions of Florentine works. At the time, Mantegna was said to be a favorite pupil; Squarcione taught him the Latin language, and instructed him to study fragments of Roman sculpture. The master also preferred forced perspective, the lingering results of which may account for some Mantegna's later innovations. However, at the age of seventeen, Mantegna separated himself from Squarcione. He later claimed that Squarcione had profited from his work without paying the rights. His first work, now lost, was an altarpiece for the church of Santa Sofia in 1448. The same year Mantegna was called, together with Nicol?? Pizolo, to work with a large group of painters entrusted with the decoration of the Ovetari Chapel in the apse of the church of Eremitani. It is probable, however, that before this time some of the pupils of Squarcione, including Mantegna, had already begun the series of frescoes in the chapel of S. Cristoforo, in the church of Sant'Agostino degli Eremitani, today considered his masterpiece. After a series of coincidences, Mantegna finished most of the work alone, though Ansuino, who collaborated with Mantegna in the Ovetari Chapel, brought his style in the Forl?? school of painting. The now censorious Squarcione carped about the earlier works of this series, illustrating the life of St James; he said the figures were like men of stone, and had better have been colored stone-color at once. This series was almost entirely lost in the 1944 Allied bombings of Padua. The most dramatic work of the fresco cycle was the work set in the worm's-eye view perspective, St. James Led to His Execution. (For an example of Mantegna's use of a lowered view point, see the image at right of Saints Peter and Paul; though much less dramatic in its perspective that the St. James picture, the San Zeno altarpiece was done shortly after the St. James cycle was finished, and uses many of the same techniques, including the classicizing architectural structure.) San Luca Altarpiece, 1453; Tempera on panel; Pinacoteca di Brera, MilanThe sketch of the St. Stephen fresco survived and is the earliest known preliminary sketch which still exists to compare to the corresponding fresco. Despite the authentic look of the monument, it is not a copy of any known Roman structure. Mantegna also adopted the wet drapery patterns of the Romans, who derived the form from the Greek invention, for the clothing of his figures, although the tense figures and interactions are derived from Donatello. The drawing shows proof that nude figures were used in the conception of works during the Early Renaissance. In the preliminary sketch, the perspective is less developed and closer to a more average viewpoint however. Among the other early Mantegna frescoes are the two saints over the entrance porch of the church of Sant'Antonio in Padua, 1452, and an altarpiece of St. Luke and other saints (at left) for the church of S. Giustina, now in the Brera Gallery in Milan (1453). As the young artist progressed in his work, he came under the influence of Jacopo Bellini, father of the celebrated painters Giovanni and Gentile, and of a daughter Nicolosia. In 1453 Jacopo consented to a marriage between Nicolosia to Mantegna in marriage.

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